PI XPRNC – Oblivion Works Inside Us

Selected by: Peter Funke for Weekendprog
Country: USA (formerly Venezuela)
Sub-genre: Rock, alternative prog, ambient

This is the second release from this band. A interesting recording with a guitar-dominated sound. It is heavy, but not too speedy. There are a lot of fine riffs on groovy or relaxed rhythms. Quiet interludes or intros feature more keys and sounds and show a jam-like attitude (As You Live You Will Die). The drums and bass are discreet, wild or provide coolness and drive (Primum Mobile – featuring Charlie Chaplin’s The Great Dictator). On top of all this, we hear a superb voice provided by Karen Gonzalez (who is also the main composer and plays guitar and synths).

PI XPRNC – Algenia

Selected by: David Rodreigo (coon) for Metalcry.com
Discográfica: Musea Records

Siendo como soy un gran fan del progresivo, algo que todos vosotros sabéis ya perfectamente, no podía dejar de llamarme la atención una formación como esta, en la que la presencia de elementos claramente influenciados por Tool y King Crimson se dan cita junto a la inevitable influencia de Oxygene8 y Renaissance, especialmente en la estructuración melódica de las canciones y reforzada por la versátil y gratificante voz de Karen González, artífice de este grupo. Además de las labores vocales, Karen se hace cargo de las guitarras y los teclados y es la principal compositora de este combinado. 

Contundencia, garra y elegancia son los tres factores principales en la personalidad musical de esta banda, tal y cómo vemos reflejado desde los primeros minutos del disco en cortes como la inicial “Chaos One/Genesis” o “Drowning”, tema que ya conocíamos gracias a la demo de presentación (junto a “Rain” y “Arise”). El buen uso de los arreglos y un talento natural para trabajar las estructuras escondiendo pequeños detalles y sorpresas a lo largo de los temas permite al grupo construir atmósferas sólidas y llevar al oyente a su terreno, transportándolo a un mundo de creación propia, dónde las luces y las sombras, la rabia, la melancolía, el dolor y la alegría participan en un delirante juego de escondite, apareciendo y desapareciendo más allá de nuestro control. 

Precisamente es “Arise” el siguiente tema que nos encontramos (con la excepción del interludio “Conexión One) y en el podemos disfrutar de unas tendencias melódicas más alternativas que fomentan la versatilidad vocal de Karen (por momentos este tipo de cadencia melódica y la interpretación de Karen me traen a la memoria a los eclécticos Skunk Anansie). Pronto aparece un interesante riff de clara influencia “tool-iana” y unos arreglos y percusión habituales en King Crimson, presentando de esta forma sus dos influencias más determinantes. 

Esta mezcla de influencias resulta especialmente llamativa porque pone de manifiesto algo muy importante: el grupo no tiene miedo de integrar en su sonido elementos clásicos por antonomasia junto a tendencias mucho más actuales y transgresoras. A medida que avanzamos en el tracklist (personalmente con un interés creciente por los distintos “Chaos”, siendo “Chaos Two/Fall Away” el más intrigante desde mi punto de vista; y siendo testigo de temas como la ya mencionada “Rain”, la interesante “Lights Turn On” o la curiosa “Serenity”) nos damos cuenta de que el grupo no limita su círculo de influencias a los artistas ya mencionados y poco a poco nos presenta detalles propios de bandas como Porcupine Tree (o, mejor dicho, detalles propios de Steven Wilson, ya que posiblemente sea su trabajo fuera de Porcupine Tree lo que más haya influido en este grupo), pequeños retazos de Pelican o incluso el gusto por los juegos de luces y sombras de Opeth, cuando los suecos dejan aflorar su lado más acústico y calmado. Estas tendencias (junto a la ya mencionada y sempiterna presencia de Tool) se ven especialmente reflejadas en el tema que da título a este lanzamiento: “Algenia”, un coloso de más de veinte minutos en el que la formación venezolana pone toda la carne en el asador para plasmar su capacidad creativa e interpretativa a todos los niveles. 

No obstante es en la recta final del disco cuando, desde mi punto de vista, nos topamos con lo más interesante del mismo. Tras cerrar la “saga Chaos” con “Chaos Four” comienza a sonar “Becoming”, un tema pausado, a medio camino entre el medio tiempo y la balada, elegante y misterioso, completamente envuelto por una magia que parece emanar directamente de la voz de Karen, que cuaja en este tema la mejor interpretación del disco sin lugar a dudas. 

El broche final lo pone “Shape”, un corte bastante progresivo en la línea del disco, que mantiene los estándares de calidad hasta el final. 

Creo sinceramente que nos encontramos ante una formación con un futuro brillante en su terreno y que merece ser seguida muy de cerca, ya que solo necesitan algo de tiempo para terminar de formarse una identidad propia que ya comienzan a dibujar en este disco y regalarnos piezas únicas y a todas luces interesantísimas. Altamente recomendable. 

Puntuación: 9,5

PI XPRNC – Algenia

Selected by: Alfredo Tapia Carreto for Manticornio.com
Discográfica: Musea Records

Siendo como soy un gran fan del progresivo, algo que todos vosotros sabéis ya perfectamente, no podía dejar de llamarme la atención una formación como esta, en la que la presencia de elementos claramente influenciados por Tool y King Crimson se dan cita junto a la inevitable influencia de Oxygene8 y Renaissance, especialmente en la estructuración melódica de las canciones y reforzada por la versátil y gratificante voz de Karen González, artífice de este grupo. Además de las labores vocales, Karen se hace cargo de las guitarras y los teclados y es la principal compositora de este combinado. Contundencia, garra y elegancia son los tres factores principales en la personalidad musical de esta banda, tal y cómo vemos reflejado desde los primeros minutos del disco en cortes como la inicial “Chaos One/Genesis” o “Drowning”, tema que ya conocíamos gracias a la demo de presentación (junto a “Rain” y “Arise”). El buen uso de los arreglos y un talento natural para trabajar las estructuras escondiendo pequeños detalles y sorpresas a lo largo de los temas permite al grupo construir atmósferas sólidas y llevar al oyente a su terreno, transportándolo a un mundo de creación propia, dónde las luces y las sombras, la rabia, la melancolía, el dolor y la alegría participan en un delirante juego de escondite, apareciendo y desapareciendo más allá de nuestro control. Precisamente es “Arise” el siguiente tema que nos encontramos (con la excepción del interludio “Conexión One) y en el podemos disfrutar de unas tendencias melódicas más alternativas que fomentan la versatilidad vocal de Karen (por momentos este tipo de cadencia melódica y la interpretación de Karen me traen a la memoria a los eclécticos Skunk Anansie). Pronto aparece un interesante riff de clara influencia “tool-iana” y unos arreglos y percusión habituales en King Crimson, presentando de esta forma sus dos influencias más determinantes. Esta mezcla de influencias resulta especialmente llamativa porque pone de manifiesto algo muy importante: el grupo no tiene miedo de integrar en su sonido elementos clásicos por antonomasia junto a tendencias mucho más actuales y transgresoras. A medida que avanzamos en el tracklist (personalmente con un interés creciente por los distintos “Chaos”, siendo “Chaos Two/Fall Away” el más intrigante desde mi punto de vista; y siendo testigo de temas como la ya mencionada “Rain”, la interesante “Lights Turn On” o la curiosa “Serenity”) nos damos cuenta de que el grupo no limita su círculo de influencias a los artistas ya mencionados y poco a poco nos presenta detalles propios de bandas como Porcupine Tree (o, mejor dicho, detalles propios de Steven Wilson, ya que posiblemente sea su trabajo fuera de Porcupine Tree lo que más haya influido en este grupo), pequeños retazos de Pelican o incluso el gusto por los juegos de luces y sombras de Opeth, cuando los suecos dejan aflorar su lado más acústico y calmado. Estas tendencias (junto a la ya mencionada y sempiterna presencia de Tool) se ven especialmente reflejadas en el tema que da título a este lanzamiento: “Algenia”, un coloso de más de veinte minutos en el que la formación venezolana pone toda la carne en el asador para plasmar su capacidad creativa e interpretativa a todos los niveles. No obstante es en la recta final del disco cuando, desde mi punto de vista, nos topamos con lo más interesante del mismo. Tras cerrar la “saga Chaos” con “Chaos Four” comienza a sonar “Becoming”, un tema pausado, a medio camino entre el medio tiempo y la balada, elegante y misterioso, completamente envuelto por una magia que parece emanar directamente de la voz de Karen, que cuaja en este tema la mejor interpretación del disco sin lugar a dudas. El broche final lo pone “Shape”, un corte bastante progresivo en la línea del disco, que mantiene los estándares de calidad hasta el final. Creo sinceramente que nos encontramos ante una formación con un futuro brillante en su terreno y que merece ser seguida muy de cerca, ya que solo necesitan algo de tiempo para terminar de formarse una identidad propia que ya comienzan a dibujar en este disco y regalarnos piezas únicas y a todas luces interesantísimas. Altamente recomendable. Puntuación: 9,5

PI XPRNC – Algenia

Selected by: Mark Hughes for DPRD
Discográfica: Musea Records

But this is no one-woman band as she is joined by percussionist Yonder Rodríguez, bassist Miguel Blanco and drummer David Cajías. First, let’s start of by stating that despite what other reviewers, as well as the press release sheet, might have intimated, any comparisons with King Crimson are somewhat null and void. Yes, five of the tracks, Chaos I to IV and Conexion I, are effectively, and effective, linking pieces that are of a more esoteric and atmospheric nature but they bear no resemblance to any Fripperesque soundscapes, they are intricately and effectively linked to the sound that Ms. González has created of her own accord. And that sound is rather unique, exploring a wide variety of textures and styles, weaving in percussive patterns from around the world in-between a grand variety of sounds and ‘noises’ wrung from the entire length of the fret board. As a guitarist González doesn’t aim to assault the senses with an attack of lightning dexterity but goes for a more considered approach, mixing soothing layers with power chords, riffing and the occasional restrained solo, such as on Rain. When the music ramps up her voice can sound similar to Amy Lee from Evanescence but it is on the slower numbers, such as the great Lights Turn On and the plaintive Serenity, where her voice is most effective and pleasing. There is a degree of experimentation in the music, not least in the expansive title track Algenia which heads off in so many different directions throughout its 20 minutes it is neigh on impossible to predict what the next few bars will hold, and that is even after hearing it a multitude of times! Percussionist Rodríguez adds intriguing patterns throughout and I presume that it is González herself adding a very effective Middle Eastern sounding passage via synths towards the middle of the track. The more I listen to this album, the more I discover. The first time I played it I was somewhat underwhelmed as I was of the impression that it was unfocused and trying to be too much of everything. However, I believe one has to get into the mindset to fully appreciate what is on offer and that can only come through repeated exposure. I, as I suspect many other people, often find that the immediate is also the transient; how often has one heard a song and fell instantly in love with it only to find that several months (weeks? days?!) it is all but forgotten. But things where you have to expend a little effort in order to understand and get under the skin oftn bear the most dividends. The sonic scope is broad, the arrangements intriguing, the performances solid and the production of a high standard. Karen González is virtually the antipathy of 90% of women in the music business: writer, arranger, producer, engineer, singer, guitar player, synth player, original, full of ideas and so on. For that alone she deserves our recognition and support. That the debut album she has come up with is as strong as it is only adds to the appeal. The only thing she has in common with the female divas that litter the charts is that she is a pretty fine singer. To top it all, she’s not bad looking either…

PI XPRNC – Algenia

Selected by: Olav M. Bjornsen for Progressor.net
Discográfica: Musea Records

It is rather intriguing to come across a band whose debut album, according to the description, is a chapter from a past now left behind. I do hope that future ventures from this talented composer and bandleader will continue exploring the same musical territories (stressing the plural) as on this creation, as Miss Gonzalez comes across as a truly creative and inspired person. “Algenia” is a production of many facets, of which the first and foremost is that it doesn’t set out to explore one particular sound or style. The songs touch upon a multitude of expressions, but apart from a prevalent darkness in the overall sound there aren’t too many elements that ever become predictable on this venture. Five of the thirteen tracks are soundscapes more than songs as such; Chaos one through four and Conexion: dreamy or atmospheric excursions of the bleaker variety, with industrial elements utilized to great effect in places. For the eight remaining efforts, the guitar is the key instrument. Often in multiple layers and with quirky passages the rule rather than the exception. Acoustic and undistorted passages with echoes and slight dissonances are much used sounds on this album, with references to King Crimson’s creations in the first half of the eighties. But distorted, gritty riff patterns similar to acts like Tool are a common feature throughout as well – and many of the variations in between these two opposites are more or less frequently touched upon throughout this production. The guitar soloing is mostly of the atmospheric variety – no shredding to be found and elongated notes and timbres are utilized to great effect in these parts. At times the soloing is placed in the back of the mix; used as an additional texture rather than as a dominating element, which works very well in the instances where this occurs. Synths are generally used to add textures to the proceedings. Serving up dark timbres underscoring the guitars, adding ambient sounding or industrial tinged layers and passages or swirling noises to the general soundscape they rarely dominate, but are a constant feature from start to finish on this effort. Instances where the synths can be said to have a prominent placement in the compositions are in the passages where they provide eastern-sounding themes. The percussion work of Yonder Rodriguez adds elements of folk music to the proceedings, and drummer Cajias provides a variety of neat additional elements to the compositions too; quirky drum patterns and jazz-tinged rhythms do add some rather intriguing dimensions to a sonic palette as diversified as this one, and he’s skilled enough to know when the extra flourishes are needed and when a more basic drum pattern is the better choice. The overall sound is quirky and dark, and the vocals of Miss Gonzales add a stark contrast to the elaborate soundscape produced by the instruments. Powerful, emotional and distinct, at times reminding me quite a lot of Skunk Anansie’s lead vocalist Skin in timbre, her voice soars and beckons, adding life and soul to the instrumental escapades. Conclusion. “Algenia” is a solid and innovative debut album by PI XPRNC. A few exceptions aside, the compositions are innovative and truly deserving of being described as progressive, and this should be an effort of interest to those who enjoy challenging progressive rock covering several different musical expressions.

PI XPRNC – Algenia

Selected by: Roberto Lambooy for IO Magazine, No 84
Discográfica: Musea Records

The proposal of this Venezuelan band differs greatly from the usual sound of South American progressive rock. I must say that their style is absolutely progressive, though this statement should not be taken as a label in any restrictive sense. The music is created with a strong melodic emphasis; the compositions highlight many technical aspects, and the musicians perform their work incredibly well… yet at no point does any element feel excessive or overwhelming. The singer has a highly versatile voice, capable of moving effortlessly from the softest passages to the most intense moments. The percussionist is far from a beginner; in a very subtle way, he knows exactly how to present his rhythms, which the bassist follows wonderfully. The guitarist expresses herself powerfully through lines that constantly move away from conventional harmonies, maintaining a perfect dialogue with the accompanying music. The changes within the music are executed with such subtlety and good taste that they keep the listener completely captivated. The structure creates a tension that is released with great force, always leading into a climax. Some reviews compare this band to King Crimson and Tool. I can understand why; the way the songs are structured and some of the guitar lines do indeed reflect certain similarities. There are also moments that may remind listeners of Skunk Anansie, though the band in no way feels derivative or imitative. If I had to compare them to anyone, it would possibly be White Willow, since that band also knows how to blend power with mysticism, dynamics, and silence until reaching melodies of tremendous emotional strength. However, it is worth noting that White Willow’s productions do not maintain the same intensity throughout an entire album, whereas π XPRNC sustains its level across the whole production. I believe all of these comparisons ultimately fall short when it comes to π. The band possesses a style entirely of its own—original and solid as a rock. The combination of powerful compositions, a distinctive identity, the precision and clarity with which the music is performed, and the extraordinary structure of the songs make *Algenia* an album of tremendous force.

PI XPRNC – Algenia

Selected by: Bruno Versmisse for Harmonie Magazine, No. 65
Discográfica: Musea Records

PI XPRNC is led by a young woman, Karen Gonzalez, who, besides being the lead vocalist, also guides her fellow musicians, as she is the composer of the songs as well as the guitarist and keyboardist. A very rare case in rock music: a female leader surrounded by male musicians! And what is served here is far from anything sweet or lightweight. With a clearly progressive-metal concept, PI XPRNC (a name that has surely driven magazine writers to madness) presents near-Crimsonian riffs over a heavy foundation, without ever neglecting melody, giving the music a powerful evocative force. Large spaces are also devoted to introspective atmospheres, leading us skillfully toward the heavier metallic sections with precise enthusiasm. Besides King Crimson, one could also cite more modern influences such as Tool, or the lesser-known Oxygène8, also led by a female figure. As for Karen’s voice, it is a pleasure to hear—explosive in the higher registers, warm in the lower ones, delivered in English that never reveals her Latin origins. Often understood as a form of New Progressive Rock, post-rock finds a remarkable representative in PiXPRNC within today’s scene. Their chaotic and dark atmospheres, magnificently clinging to the edge of a Floydian despair, will send more than one prog fanatic into delirium—you can be sure of that!

PI XPRNC – RECITAL FOR A SEASON’S END

Selected by: PROGNOSIS
Discográfica: Musea Records

PI XPRNC’s “Fantastic Place” -> Taken from “Marbles”, this version presented by the Venezuelan band has an almost trip-hop rhythm section at some sections, while presenting a dark and emotional musicality punctuated by a background semi-church like keyboard. It is an interesting cover that really brings something new to the original, while completely respecting the original (yet downing a bit the tempo and adding some epic sense at some points).

PI XPRNC – Algenia

Selected by: Ulf Backstrøm for MERLINPROG
Discográfica: Musea Records

A fulfilled need for the prog community, there are indeed several women who are both capable and creative. On this debut, we will have a music that is quite original but definitely progressive, and which is also melodic, aforethought and with great dynamics. It is modeled from many musical clays, and was put together in an album that really has yearning and power. Part of the Algenia strength comes from the convergence of multiple musical styles along an insightful and acute view. The album message, as we perceive it, can be summed up as “Ignorance makes us blind”. Perhaps we may also cite Arnulf Øverlands words, “You must not endure so well the injustice that does not affect yourself! I shout with my voice, to the last breath, you are not allowed to leave and forget!” (No debes tolerar con ligereza / los actos de injusticia que no te golpean. / Te conmino hasta mi último aliento: / ¡No debes tan sólo vivir y olvidar!”) That, along with carelessness, can lead to many consequences, including severe pain and death, according to the maestro Karen Gonzalez. She has a truly exquisite voice that is a nice contrast to the elaborate soundscapes that the instruments create. A voice that is both rich, evocative and authoritarian, and that works as a further life-giving elixir for the sometimes dark, introspective, mysterious, fascinating and most remarkable sonic scenes. The fact that English is not Karen Gonzalez’s native language is certainly something we’d never had guessed! The music of πXPRNC is built from its own foundations, thought we might recognize a certain kinship with bands like Skunk Anansie, especially in the vocals. Also, Tool, King Crimson, White Willow and Oxygene 8 are regarded as some kind of second cousins, musically speaking. The more one listens to Algenia the more one finds in its compositions. Compositions which are cunningly wrought with eloquent themes with just enough dynamics to make them interesting and never overloaded, which are definitely powerful but do not go astray for the beauty and can be light as a feather, being also blessed with an underlying mysticism. Especially tracks Chaos I – IV and Conexion are shrouded in a veil of mysticism, and sprinkled with quite advanced musical accomplishment, which is pretty exciting. The term titillating may be a fairly adequate word for this debut album which, it really must be said, should be among the year’s best debuts. We really look forward to more music from πXPRNC, more of Karen Gonzalez’s creativity and both innovative and creative abilities, along with Yonder Rodriguez’s dynamic and intricate percussion, David Cajias’ distinct and powerful drumming, and Miguel Blanco’s succinct and fervent bass lines.

PI XPRNC – Algenia

Selected by: Zicazine / France
Discográfica: Musea Records

Accompanied by Miguel Blanco on bass, David Cajias on drums, and Yonder Rodríguez on percussion. In the lineage of bands such as Renacimiento and Ars Nova, Pi Xprnc seeks to restore a stronger female presence within progressive rock. Through music influenced by Tool and King Crimson, the group makes its mark with this debut effort released on the French label Musea. Built upon vibrant atmospheres, *Algenia* plunges us fully into post-rock territory, much to the delight of genre enthusiasts—and newcomers alike. Pi Xprnc made the wise choice of constructing each track as a complete work in itself; even more impressive is how these thirteen individual pieces come together into a perfectly coherent and deeply seductive whole. The conceptual approach remains consistent throughout the album: generally beginning with more restrained intros that gradually allow the guitars to rise in intensity before reaching apocalyptic finales where cacophony sometimes replaces the intimate melody of the opening passages. The formula is classic yet undeniably effective, and once again it works beautifully on *Algenia*, which also features an almost accent-free English delivery. When the music reaches its highest levels of intensity, Pi Xprnc reveals a distinctly Crimsonian production style, particularly evident in tracks such as *“Drowning,” “Serenity,” “Lights Turn On,”* and *“Rain.”* These pieces complement one another perfectly, converging with remarkable intelligence into a truly progressive work. A beautiful album.

PI XPRNC – Algenia

Selected by: Christophe Gigon fro Progressia.net
Discográfica: Musea Records

πXPRNC is a formation led entirely by a single composer, Karen González. Not content with being the creative force behind the fourteen tracks that make up this astonishing feast fit for kings, our commander-in-chief also handles all vocal parts, guitars, and keyboards. The drums and bass are entrusted to two comrades accompanying this remarkable young artist. The musicologist-ethnologist immediately reports: “A touch of South American folklore within this Anglo-Saxon music…” Yet it is perhaps better imagined as a form of post-rock clad in a powerful metallic armor—a fortunate convergence between the cinematic meanderings of Mogwai, the atonal destructions of King Crimson, and the exhilarating rage of Tool. All of this while never straying from a highly engaging melodic approach. Karen’s voice, absolutely delicate and captivating, invites comparisons to bands such as The Gathering, Paatos, or even Within Temptation, although πXPRNC’s music is less symphonic and intoxicating than that of Sharon den Adel’s band. Here, atmosphere and musical catharsis take precedence. A thunderous foundation of desire and a high-quality production attentive to every detail (what finesse in the drumming!) elevate this debut recording with a rare and unexpected value for a previously unknown group—one discovered by the ever-curious minds at Musea, whose instincts have once again proven impeccable. What a beautiful surprise! Lovers of demanding music with a strong “Scandinavian aroma” (what a paradox for a band from the South) should absolutely take notice. There is no warmth or festivity here from this Caracas-based group. Instead, there is a kind of melodic and aesthetic coldness that is profoundly moving. A serious promise—and a worthy contender alongside Landberk, Liquid Scarlet, and Anekdoten. What an impact.

PI XPRNC – Algenia

Selected by: Instinti Musicali / Italy
Discográfica: Musea Records

Coming from the Venezuela, this band is indeed special, in particular thanks to the voice of extraordinary singer Karen GONZALEZ. Not only singer, but also tastierista and chitarrista, music of the group remembers KING CRIMSON, post-rock and the elements Metal here TOOL. Melancholic and at times introspettiva but of sure interest thanks to the intricati percussivi elements, this disc is indeed from possession!..