KOTEBEL: Cosmology (PROGRESSIVE ROCK): review / opinion to read on Music Waves

The release of Kotebel's new opus after five years of studio silence is a good news. Because, the Spanish combo has always shown a personality that allows them to be recognized in any blind test, thanks to original compositions that make the most of classical music, jazz, South American folklore and, of course, rock.

Entirely instrumental, as is now the case since the departure of its singer, Carolina Prieta after "Omphalos", the album sees the return of flautist Omar Acosta (who left Kotebel at the same time) as a guest on four tracks. The presence of Acosta's flute is a real plus, as the complexity of Kotebel's music can only benefit from a broadening of the palette of his instruments. It contributes to the beautiful balance between acoustic (flute and piano) and electric/digital instruments (guitar and synthesizers), arbitrated by a rhythmic accompaniment that is present, powerful but never invasive.

The music is complex without being abstruse and often reserves to the listener very melodious passages (the melancholic flute of 'Post Ignem', the wave effects of 'Oneness'), which does not exclude some more squeaky moments, as on the aggressive and repetitive 'Mechanical Universe' close to the industrial. The rhythm is generally lively, even if Kotebel knows how to reserve more contemplative or dreamy passages for the listener, in order to better start again on a wild tempo. In the great progressive tradition, Kotebel multiplies the changes of themes ('Post Ignem', 'Entangled Universe') or on the contrary develops the same theme by introducing multiple variations ('Geocentric Universe', 'Oneness') with the same happiness.

"Cosmology" contains a suite, the 'Cosmology Suite', composed of four movements, each representing a vision of the universe. 'Geocentric Universe' describes a universe where the earth is the center and God is an anthropomorphic entity, 'Mechanical Universe' speaks of the universe as a complex machine where all the elements interact with each other and where God does not exist, 'Entangled Universe' is the universe where all thinking beings are connected to each other and in 'Oneness', humans are one, like the waves in the sea. In addition to their cinematic character, especially in 'Mechanical Universe' and 'Oneness', these pieces, by the theme that unites them, reach a great coherence of tone, in which the introductive 'Post Ignem' participates.

Unfortunately, as is often the case, the band wanted to be (too) generous, which is a bit detrimental to the album, as the last tracks, less interesting, break the homogeneous character reached by their predecessors. The album could (should?) have stopped before 'Mishima's Dream' or, at least, include this one but without letting it finish the album, as this track is a bit too rough and elusive to be a good ending. The last three tracks break with the whole by the relative linearity of their melody. Without being unpleasant, their regrouping at the end of the album creates at the same time a too big contrast and a certain weariness.

This doesn't prevent "Cosmology" from being a beautiful album carrying a daring and inventive music as it would be pleasant to hear more often in the world of progressive music. And, once is not customary, I will allow myself to express a wish to Kotebel: after the return of Omar Acosta, when will Carolina Prieto's return? - Official website

KOTEBEL

COSMOLOGY

AUTOPRODUCTION

PROGRESSIVE ROCK