Review: Trance Zomba (1994)

1) Desarmate
2) Malón
3) Montañas de agua
4) Coralcaraza
5) Ascendiendo
6) Patinador Sagrado
7) Koyote
8) Poder Ñandú
9) Árbol Palmera
10) Sheeba Baby
11) Misericordia

“Es un disco pobre, humilde… los sonidos del disco son así, tenía que ser un disco de bajo sopor, de descanso… es un disco de clase media. “ (Gabo)

“… nos tomamos calma, silencio, meditación y swing.” (Diego Uma)

Si en Pasto todo era rápido y no había ni respiros, ya que ni siquiera existen pausas entre canción y canción, en Trance Zomba sucede todo lo contrario. Pues este disco es un viaje, un trance, acá hay una excesiva contemplación, un movimiento que no precisa de velocidades evidentes, sino que existe un medio-tiempo constante, todo en este disco está coagulado en una pausa infinita. En Trance Zomba hay una energía que es algo difícil de explicar y definir, simplemente una energía, una catarsis, pero que no necesita ser en movimiento, en aceleración, es otro tipo de velocidad, de hecho hasta los temas que son en sí más rockeros tienen una pausa, un no-vértigo, una entrega para que los sentidos viajen. Pero ojo, no solo es un efecto de languidez como quizás se podría pensar, en este disco hay mucho Pink Floyd, pero también hay mucho Sly and The Family Stone por ejemplo, pues el swing es otro de los elementos que Trance Zomba hace alarde, la música negra es algo fundamental en este disco. Claro, se podría pensar que acá hay en juego elementos demasiados disímiles, pero Babasónicos echa a andar todo esto en una juguera de la cual es producto Trance Zomba. Pero si a estos dos elementos primordiales del disco, le damos como producto un tercero, Trance Zomba adquiere toda su originalidad. Este tercer elemento sería el glam rock que sin embargo, musicalmente no es explicito, sino que lo es a un puro nivel estético. Pues en Trance Zomba la estética empieza a ser más que relevante para Babasónicos, partiendo por la estética de ellos mismos en el arte del disco, o en los videos promocionales, y también en los shows de presentación (que ojo, fueron muchos), la estética-sónica puso una cuota de demasiada originalidad dentro del rock argentino.

Yo diría que Trance Zomba y su estética es quizás lo más representativo de esta banda. Ya que en mi humilde opinión, Trance Zomba perfectamente podría ser catalogado como uno de los puntos más altos (sino el más alto) de la discografía sónica. Primero, porque como decía más arriba, creo que Trance Zomba es un disco que define lo que son los mismos Babasónicos, es decir, existe en Trance Zomba una imagen, una definición de estos chicos que quedó a la posteridad. Algo así como Ziggy Stardust lo es para Bowie, o A Night At The OperaEl León para los Cadillacs para poner un ejemplo más cercano, pues en términos estéticos Babasónicos marcó un camino, un quiebre en el rock latinoamericano, ya que antes de Trance Zomba jamás nadie se vio, ni se escuchó igual, y aparte de eso, marcó un sello de la banda, algo que los hizo distintivos. En segundo lugar podría decir que Trance Zomba es el mejor disco sónico por una cuestión más simple: sus canciones. Creo que acá se encuentran tres de los clásicos más nombrados, más representativos de la banda; MalónMontañas de AguaPatinador Sagrado, son temas íconos de los sónicos, tremendos temazos. Y no sólo estos tres que son de lo más conocido y clásico, sino que temas que quedaron a la posteridad como clásicos más “ocultos” de la banda: Sheeba BabyCorralcarrazaDesármatePosesión del tercer tipo, etc. Y por último, porque creo que en Trance Zomba se logra más a la perfección lo que siempre ellos quisieron hacer con sus discos, hacer discos, es decir más allá de un conjunto de canciones, darle una unidad coherente a las canciones dentro de un concepto, esto no quiere decir que los Babasónicos hayan hecho discos conceptuales, sino que en todos sus discos hay una idea de lo que es el disco, pero esto no pasa ni por las letras, ni por el estilo musical (cosa siempre diversa en toda su carrera), sino que en la producción. Obsesos con la producción de los discos, ellos siempre los produjeron todos, dándole más importancia a eso que a la misma elaboración de canciones: Trance Zomba es donde a mi gusto la cuestión de la producción se logra definitivamente, creo que junto a Babasónica, son los discos en cuanto a producción y en cuanto a lo conceptual, más acabado.

He dicho que la producción en el sentido de que deben haber por lo menos 3 o 4 temas que perfectamente podrían haber estado en Pasto, más que nada por las letras, por la instrumentalización, etc., pero evidentemente uno no se lo imagina más que en Trance Zomba, por justamente el sonido que envuelve este disco, que es único. Uno de esos temas es el corte que abre el disco, único tema creo yo de crítica social directa que han tenido en su historia los Babasónicos que es Desármate. Un tema con base hip-hop en donde Adrián nos cuenta la experiencia de la calle (¿quién dijo que los Babasónicos eran escapistas, o peor, quién dijo que era música para burgueses?), en donde todo es un desastre por la violencia callejera. Las  bases rítmicas son hip-hop, de hecho al comienzo tiene una entrada soul, pero en un momento entran las guitarras, y esto ya parece los Beastie Boys, por esa fusión del rap con el rock más  pesado Uno de los elementos fundamentales de Trance Zomba es la llegada del scratch, en este disco los Babasónicos se transforman en 7 con el ingreso a la banda de DJ. Peggyn, un icono dentro de los fans antiguos de la banda, y ojo primera vez que en Latinoamérica una banda poseía un Dj como miembro estable. EnDesármate es claro ese scratch que aparece por ahí dentro de los riffs de Mariano Roger que dan paso a un clásico: Malón. Primer single en ese entonces, con un video espectacular a todo esto, pero ya acá es ese rock pesado que enunciaba más arriba, que más allá de estimular el mosh, o elheadbangers, nos transporta a un espacio sicodélico, en donde las formas se relajan, Malón yMontañas de agua, temas que van casi unidos, tiene esa onda, aparte de poseer unas líneas de bajo, alucinantes, que sirven de base absolutamente sicodélica a ambas canciones. Pues digamos que el bajo de Gabo en este disco es protagonista, hasta el sonido mismo del bajo tiene una producción especial, que lo hace sonar así como lo escuchamos, de forma bastante extraña, es más, el sonido de Trance Zomba es único, los mismos sónicos dicen ahora que odian como suena Trance Zomba, pero yo considero que toda la magia de este disco recae en eso. Decíamos:.MalónMontañas de agua, tiene quizás las primeras claves que dan a pensar una de las grandes influencias de los Babasónicos:Black Sabbath. Las guitarras son sabbathianas, es más, desérticas, y tienen un extraño vínculo con grupos como Kyuss, absolutamente contemporáneos a los Babasónicos.

La cuarta canción es una de las más sicodélicas, floydianas de este disco: Corralcarraza. Si decíamos de ese estado de ensoñación, de libertad alucinógena, Corralcarraza tiene todos esos ingredientes de sobra. El juego vocal que tiene el tema es propio del consumo del LCD, pero más allá de remontarnos a los 60’, acá hay un vínculo (que ojo se percibe en todo el disco) con lo desértico, con una experiencia quizás altiplanica, muy a lo Castaneda, dentro de ese imaginario. Corralcarraza es un ejemplo, pero también lo tenía antes MalónMontañas de agua. Que decir de Koyote, tema de un minuto y medio que es sobre una pulcra y (otra vez) desérticas notas de guitarras, que transportan a un no-lugar, recuerdo el video y te llevan más lejos. Dentro de esta misma onda, está Árbol Palmera, otra ensoñación, otro estado alucinógeno, con una letra que es idílica. Podríamos pensar que las temáticas se repiten, pero como traté de enunciar cuando comentaba Pasto, es que los tres primeros discos sónicos están dedicados a la drogas, son discos hechos y compuestos en estados alterados de la percepción, juegan en ese límite. Sin embargo, son tres discos sumamente diferentes, Trance Zomba te lleva a otro lado, que Pasto no te llevaba. Bueno, es cosa de experimentarlos, tal cual una droga.

La primera parte del disco te agarra, de hecho, diría que el primer lado, los seis primeros temas son absolutos clásicos. El quinto tema es Ascendiendo, tema que perfectamente también podría haber estado en Pasto, de hecho lo tocaban en los conciertos de esa época. Tiene una letra alucinante, Dargelos siempre ha sido un buen letrista, pero esta es una de sus mejores letras dentro de su catalogo más juvenil: “mirá como se desvanece Adrián, andandando lejos de la realidad…” o también, “salgo afuera, salgo a dar vueltas, y no me preguntes por dónde, vuelvo cuando amanezca, no me preguntes más…”, pura rebeldía juvenil; el tema aparte tiene unos arreglos de piano y una base funk más que interesante. Pero señores y señoras, la mejor canción del disco, y quizás la mejor canción de la historia del grupo es la sexta de Trance Zomba: Patinador Sagrado. Tremendo clásico de la banda, es que yo diría que quizás este tema puede definir a Babasónicos, posee todos los elementos que la banda siempre quiso demostrar. Sin embargo, ¿cómo definir esta canción?, ¿un hip-hop?, ¿un tema funk?, ¿que mierda es? Tanto así que Babasónicos tuvo que crear un estilo nuevo para definir parte de su música: este tema es boggiedelico. Esa onda. ¿Qué significaboggiedelico?, es para un comentario aparte. Creo que Patinador Sagrado es esa extraña mezcla de funk, hip-hop, música futurista, que es algo nuevo, innovador, yo creo que cualquiera que escucha esta canción sin conocerla, sabe que está ante una cosa que nunca ha escuchado, y que es sumamente original. Patinador Sagrado aparte tiene una de las letras más exquisitamente voladas que yo he escuchado, dice mucho pero no dice nada, te confunde, a la par que los múltiples arreglos que hace Dj Peggyn y Uma-T en el scratch y teclados respectivamente. Qué decir del bajo de Gabo que es hipnótico. Es que es un temazo.

Luego de Patinador Sagrado, la segunda parte del disco la abre Koyote, tema que ya algo dijimos. Pero luego de Koyote viene quizás el tema que pone la cuota de incertidumbre y sorpresa, porque sin dudas es demasiado inesperada. Esta es Poder Ñandú, tema ya clásico de la banda también. Y pues este tema es una sátira, una burla, al rock pesado, pero a la vez, es una declaración de principios. Una de las primeras declaraciones de ese meta discurso sobre el rock que Babasónicos explotaría posterior a Jessico unos años más adelante. Y bueno, Trance Zomba termina con 3 temas fenomenales. Uno de ellos es Sheeba Baby, un tema casi progresivo, que consta de 2 partes bien definidas; la primera es una experimentación bien loca, que tiene en un principio unos teclados así de ultra tumba, algo pronostica que acá ocurrirá algo demasiado sorprendente. Luego la voz de Adrián nos comienza a contar aquella historia de esa chica serpiente que te hipnotiza. La trompeta que toca Diego Uma le da un arreglo a la canción que es magnifico, toda esta primera parte se ve interrumpida en un momento por unos sonidos medios primitivos, que me recuerdan a esos experimentos del Ummagumma de Pink Floyd, es que se escucha de todo, una especie de ritual indígena, unas aves, todo muy natural, es que es una cuestión muy loca. Pero todo en el minuto 3:38 cambia, porque todo ese primitivismos se convierte en una pista de baile funk tipo onda disco de los 70. La influencia de Sly And The Family Stone acá es notoria. El bajo de Gabo se manda unas líneas de bajo memorables, en un momento el scratch de Peggyn no te estimula a otra cosa que a bailar. Que decir de ese riff de Roger en un momento, es que ese riff!, mucho swing, ¿este es el mismo tipo que 3 temas atrás tocaba el riff de Poder Ñandú?, sí, es el mismo. Considero que Sheeba Baby en sus 8 minutos cumple todas las expectativas, es un clásico, un temazo. No aburre nunca después de las muchas escuchas que uno puede darle, siempre te estimula a bailar, a moverte, y a ponerte feliz. Flor de canción!, y Sheeba Baby está dedicada a una planta, ¿adivinen cuál?

Misericordia no es tan grandilocuente como Sheeba Baby, pero es otro temazo. Para variar en Trance Zomba, Gabo se luce con un bajo ajustado y solvente. Los grooves de esta canción son increíbles, se percibe (bueno, como todo el disco) esa aura negra. Los arreglos creo que están entre los más creativos de la banda, creo que no hay otro tema en donde la influencia más bluesuera se haga más potente en Babasónicos que acá. Un temazo. Y bueno el cierre del disco, es con otra grandilocuente y bombástica canción, no era sólo Sheeba Baby un intento más experimental y progresivo dentro de este Trance Zomba. Posesión del tercer tipo es una suite que se prolonga por casi 11 minutos, y bueno también consta de dos partes, pero que a diferencia de Sheeba Baby están más separadas y realmente parecen dos canciones aparte. La primera parte del tema, es una suite a medio tiempo, muy atmosférica, esto si que es floydiano, por esas líneas de guitarras y el ritmo pausado de la batería. Cuando entra a cantar Adrián: “Prefiero flotar en mi laguna, no quiero nadar, no tengo lagunas…”, una harmónica (tocada por Diego Uma… ¡que no toca ese tipo!) le da un toque armónico notable luego de cada verso. La letra es fenomenal, críptica, de miles sentidos, de viajes sensoriales, pero a la vez de una posesión particular. En un momento unas guitarras acústicas hacen una aparición para que Adrián lance unos de los mejores versos escritos y cantados por él: “Salvajes de traje… me quieren enseñar. Salvajes de traje… me quieren educar.” Creo que esos versos describen el disco y quizás a la banda en sí, definen la subversión que implica la música y estética de Babasónicos, como una insubordinación total a cualquier tipo de formalismo y poderes coercitivos. Trance Zomba es una lucha, una fuga, a una opresión, a través de la belleza. Bueno, el tema se prolonga, con una instrumentalización agradable, que te transporta, que te posee también, por cerca de 7 a 8 minutos, y el tema termina, pero…

“Hey Zomba escucha esto… Babasónicos al lugar metalizado, Babasónicos es un estado la mente…”Es que el disco tenía un final inesperado, con estas palabras Adrián nos introduce al cierre del disco, para que nuestros cuerpos bailen y se expresen. Es una secuencia de swing y éxtasis cortesía sobre todo de Gabo y Roger, que pelean en quien hace las líneas más sudorosas y bailables, y la percusión de Panza y Diego Uma, al cien. El disco finaliza de forma espectacular, rescatando ese espíritu de baile, de swing, de ese estilo que ellos mismo crearon, llamado boggiedelico.

Por: Felipe Larrea

Web: maquinaescriturial.blogspot.com

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328 thoughts on “Review: Trance Zomba (1994)

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  79. Apple now includes Rhapsody as an app, which is a perfect start out, nevertheless it is at present hampered by means of the lack of ability toward store regionally upon your iPod, and has a dismal 64kbps little bit rate. If this variations, then it will relatively negate this comfort for the Zune, still the Ten tunes per month will nonetheless be a large furthermore inside Zune Pass’ choose.

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  89. I will products this study in direction of 2 designs of These: present-day Zune owners who are thinking about an improve, and people today seeking toward choose amongst a Zune and an iPod. (There are other gamers significance taking into consideration out there, such as the Sony Walkman X, however I hope this presents oneself more than enough facts in direction of make an informed option of the Zune vs gamers other than the iPod line as properly.)

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  93. Fingers down, Apple’s application keep wins via a mile. It is a substantial number of all sorts of applications vs a pretty sad quantity of a handful for Zune. Microsoft includes applications, specifically in the realm of video games, still I’m not of course I’d require in the direction of guess on the upcoming if this component is crucial in direction of oneself. The iPod is a substantially improved conclusion inside of that situation.

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  100. Hands down, Apple’s app retail store wins by means of a mile. It is really a huge conclusion of all types of apps vs a really not happy preference of a handful for Zune. Microsoft incorporates plans, specifically in the realm of game titles, however I am not certain I would want in direction of wager upon the foreseeable future if this function is substantial to oneself. The iPod is a substantially improved selection in just that situation.

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  102. This is turning into a bit further subjective, still I a lot like the Zune Current market. The interface is colorful, has further flair, and some cool characteristics including ‘Mixview’ that permit by yourself out of the blue perspective related albums, tunes, or other users very similar in the direction of what you’re listening toward. Clicking on a single of all those will middle on that merchandise, and a different set of “neighbors” will occur into belief, permitting yourself toward navigate above looking into by equivalent artists, songs, or buyers. Speaking of users, the Zune “Social” is too great fun, permitting on your own track down other folks with shared tastes and starting to be mates with them. Your self then can listen in the direction of a playlist made based upon an amalgamation of what all your good friends are listening in direction of, which is on top of that exciting. Individuals fearful with privacy will be relieved in the direction of know oneself can prevent the community against seeing your specific listening routines if you as a result just take.

  103. Usually I do not read post on blogs, however I would like to say that this write-up very forced me to take a look at and do so! Your writing taste has been surprised me. Thank you, quite nice article.

  104. The Zune concentrates on currently being a Portable Media Player. Not a internet browser. Not a game machine. Potentially within the upcoming it’ll do even much better inside of all those areas, still for currently it’s a excellent route in the direction of organize and pay attention to your songs and motion pictures, and is without having peer inside that respect. The iPod’s strengths are its net browsing and purposes. If individuals stable even further powerful, probably it is your best choice.

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