From
www.progarchives.com: In "Crudo", their sophomore album, the Chilean ensemble Tryo made an explicit exhibition of their two musical facets, the electric one and the acoustic one, although not integrated yet, but each one filling a different half of the album. The first 6 tracks are played live on a stage of the city of Viña del Mar, with the band sticking to the power trio format. The remaining tracks are conceived in the vein of chamber music with an array of classica lguitar, cello and assorted percussions, featuring vibraphone. It is easy to notice that the band prefers to work on these two sides separately in order to help the mature before they get intertwined as they would be in their excellent two following efforts "Patrimonio" and "Dos Mundos". Mostly, the band uses its electric sources as a medium for extrovertive expressions, while the acoustic stuff is aimed at the creation of introspective ambiences. The opener 'Fuenteovejuna' is a shorter rendition of a track (one of the best) from their eponymous debut album, in this way settling a kind of emotional heat shared with the audience. 'Fuenteovejuna' is pure Tryo trademark: a mixture of Crimsonian prog, heavy rock and jazz-based textures. 'Viento de Otoño' sets an emphasis on the jazz factor: the subtle guiar chord progressions display an evocative nucleus akin to the title's message (translated: 'Autumn Breeze'). The guitar lead that appears somewhere in the middle is constrained enough not to break the track's overall spirit. 'Vitral' and 'Nueva Épca' are more explicitly muscular, with an added touch of sophistication that allows the band to flee the usual hard rock clichés: the use of complex rhythmic shifts and dense nuances is fluidly created by the threesome in constant inner dialogue. I personally regret that 'Vitral' doesn't last longer, since I feel that it's got enough hook to justify a further expansion. but that's how it is, and as it is it's OK. 'Fanfarria' is focused on the band's most explosive side in a display of rocking energy recycled through progressive ornaments. 'Homenaje' closes down the live portion with a powerful Zeppelin-esque array carefully laid over a jazz- rock skeleton: arguably, this track comprises the best performance by the rhythm section in the album. 'Transcurso', which is only a brief sequence of crickets and birds' sounds among dew drops in a forest, kicks off the album's second half. 'Nocturno' is a 3- section piece in which the classical guitar and the cello join forces in a delicate sonic marriage that protrays melancholy and mystery in a most refined way: the percussive input is eerie and subtle, yet quite relevant to fulfill the piece's whole mood. You can tell from this track alone that these guys really have come to master the art of saying much with soft acoustic music. 'Nguillatun' is even mre mysterious, even somber at places: the constraint acoustic guitar chords, the floating cello lines and the evocative solution provided by the hand drums, all together bring a pleasant landscape to the listener's mind. 'Mantra' brings back the melancholy of 'Nocturno' albeit with a slightly higher degree of intensity, a notion that is properly confirmed at the fourht minute, which is when an enthusiastic ethnic motif emerges, showing off tropical colors. 'Danza' occupies the album's last minute, with a nacoustic reprise of one motif from 'Fuenteovejuna'. All in all, "Crudo" is a faithful testimony of Tryo's maturity as an ensemble, and a clea ranticipation of more brilliant things to come. All those who are still in awe with the beauty of the band's 2005 effort "Viajes" will be able to undertand it better if they get acquainted with this album' second half.
