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Malón > Espíritu combativo > Reviews
Malón - Espíritu combativo

Projection without solution of a ruined planet - 98%

6CORPSE6GRINDER6, December 12th, 2017

Malón was born after the demise of the well known Argentinian thrash metal act Hermética, featuring basically the same line up, just replacing bassist Ricardo Iorio with Carlos Cuadrado. The musical proposal isn't exactly the same though, Hermética’s first two albums are masterpieces that drag influences from classic speed metal, their third and last album “Víctimas del Vaciamiento” had a heavier modern touch and some strong highlights but was somehow watered down overall. Released just two years later, “Espíritu Combativo” is the logical continuation to that album but is way more inspired, heavier and louder.

Guitarist Tano Romano is in charge of composition duties, his evolution in this area is very interesting because he wrote amazing songs in both styles, I still can't figure which of these bands I like the most. This time his approach took a “mechanical” edge, typical of modern thrash, fast tremolo picking riffs, accentuated by palm muting and touching solos, not extremely technical but heartfelt, nobody writes solos like these nowadays. While this band's brand of thrash isn't the fastest or more brutal, like Sodom or Demolition Hammer, they managed to develop a heavy as fuck class of their own. The traditional heavy metal influence is there, very noticeable in the soloing, but the atmosphere is way more charged and electrifying here. More evil and contusive.

The guitar tone modeling is more refined, distortion has the same analog feel it did in earlier recordings but has more compression and equalization features an enhanced low end. Bass guitar itself is outshined by the guitar eq, it doesn't really add very much to the final mix because it just accompanies the rhythm guitar, you can barely hear it but you can feel it though. The only passage of the album where it stands out is the arpeggio at the beginning of “Cancha de lodo”. Drumming on the other hand shows an evolution parallel to riffing. Less linear mid paced double drum sections with snare hits each four counts and more tum breaks and fills are shown, adding a tribal feel that fits perfectly the modern styled grooves they tried in this record. Percussive patterns overall are very riff oriented, always conscious of what the guitar is playing rather than simply counting.

If you ever walk through a capital of any Latin American country you will notice brutal social inequality. Children starving in the cold streets under the rain next to 5 star hotels or Michelin star restaurants. There are surely some nice and fancy zones without that kind of pictures but they are just a facade, after all tourism is a huge part of our economies. But, if you go deep enough in the concrete jungle you will smell the stench of corruption everywhere. The lyrics featured in this album reflect that kind of social issues, and are a desperate scream calling for a conscience awakening. Even if I'm not a fan of modern thrash, I hail this recording as one of the best albums with lyrics in Spanish regarding any metal subgenre and 22 years after it was released, an absolute classic!

The call from the Argentine grasslands - 95%

NATPIH, October 30th, 2013

Malón is a band formed from the ashes of Hermética, the legendary Argentine band which revolutionized South american scene. Led by Claudio O'Connor in vocals and the wild Tano Romano's guitar, Malón rose as a cry of protest against the different abuses of Argentine governments throughout history.

It was never an underground band for it is directly born from Hermética, the country's most famous metal band. Due to its origin it did´t take long to attract a big numbre of fans to every gig they held.

Leaving the little historical review aside, and getting into the album itself, let us start with one of Malón's strongest characteristic: the lyrics. Their lyrics where, as it is usual with South American bands a constant protest to the government's abuses and the fissures in society, such as corruption and pollution. Because of their lyrics the band was immediatly regarded as a cult band, a label that they still hold. Describing the life of a normal civilian every day in the chaotic and changing life of 90's Argentina, the band rose and got the respect of Argentine fans.

Getting into the music topic, the album is like a blast of violence, native wars and demand. The power is felt through all the album, the riffs are strong and tough and virtuoso Tano Romano takes solos to another level. The riffs are consistent and make us recall those used by bands like early Metallica, Pantera and in some cases Motörhead, but with added power to the riffing. The soloing is highly influenced by Antonio Romano's past band Hermética. These are some stout solos, not really fast but powerful, and, in several interviews Romano claims to have developped his own style influenced by legendary guitarists such as Tony Iommi . The vocals by Claudio O'Connor are extremely aggresive and acute and the same time. The usage of his throat to sing is a personal mark, for he has used the same techniques in Hermética's albums. Long and penetrating cries are often used as well, that is why we are able to feel the demands in each one of the sung verses. Particular mention deserve the drum-lines in this truly masterpiece. Claudio "Pato" Strunz takes drumming to its best, with speed and power ,as it is the way with this album. The strikes are powerful, which is the feature that outstands the most. Surprisingly, the drumming is clean and neat, there is no sign of disorder or too much distortion, every strike is in its own place, that is the reason it makes the album becomes a full circle, getting everything together, it is the part that encompasses the rest.

All in all, it is an album that diserves to be listened by every Argentine metal fan almost mandatorily, for it is the voice of demand of their land. And of course any other metal fan around the world (even if they are not Spanish speaking) will appreciate the quality that this album offers. Maybe some day Argentine metal will get out the hole that is currently placed in, and will get the respect it deserves; albums like this are the ones capable of doing that.


Outstanding Songs from this album are: Culto Siniestro, Cancha de Lodo, Espíritu Combativo and Fábula del Avestruz y el Jabalí

A Masterpiece - 93%

Gabometal86, October 31st, 2004

MALÓN – ESPIRITÚ COMBATIVO.

When Hermetica split-up back in late 1994 or probably January 1995, bassist Ricardo Iorio went away to form Almafuerte and the other three remaining members (Antonio Romano, Claudio Strunz and Claudio O´Connor) formed this group along with Karlos Kuadrado as bassist.

“Espiritú Combativo” is quite possibly the best Malón album, the only other (studio album) contender being “Justicia o Resistencia”. It is not really fair to compare “Espiritú Combativo” with “Justicia o Resistencia”, because they have two very different sounds. While “Espiritú Combativo” has a rawer thrash sound, “Justica o Resistencia” sounds more modern and brutal. Its most likely people find this latter album better because of that old prejudice that says “If it is louder, then it should be heavier”, but personally I can't decide between the two, both are masterpieces.

The album starts off with “Malón Mestizo” that is a solid headbanger tune with nice fast riffs, an accurate guitar solo and consistent drumming. Next is “Culto Siniestro” that will fucking knock you off your feet at first listen. Thrash metal at its best, excellent performance from all the members of Malón. “Sintoma De La Infección” just plainly rules. This one really sounds like what Hermetica had done in their last studio album and check out that goddamn fast paced riff work, pure madness. Next is “Castigador Por Herencia” which has the catchiest riff on the album plus a nice bass run about midway through and a very heavy guitar work by Antonio Romano. O’Connor changes a bit his typical vocal style, he sings more guttural. “Cancha De Lodo” starts out slowly but then abruptly picks up and slays you all the way; also it has a nice and effective chorus.

The title track “Espiritú Combativo” has an impeccable riff and a pounding drum work that combined create a top notch mid tempo tune. “Ciegos Del Mundo” is a ripping and crushing thrash metal assault, it’s even faster than a B-52 and more deadly, too. “Gatillo Facil” is another insanely fast tune with clock work drumming and breakneck speed. The lyrics are about cop brutality. “Mendigos” shows a good pace and in the half of it comes a perfect break, then the song refrains excellently and O’Connor even dares to growl towards the end of it. The lyrics focus on poverty and unemployment. The album finishes with “La Fabula Del Avestruz Y El Jabalí” which is an unstoppable tune. It may be the sonic equivalence of being hit by a Bulldozer. This one expresses the opinion of the band about the spilt up of Hermetica.

O’Connor’s unique vocal style is maybe better than ever in this album. He is high pitched, sharp, shrieky and really over-the-top. The drumming is well done overall and not overproduced but yet sounding clear and strong. A thing that must be pointed up is the accuracy of Pato Strunz when doing that insane drum fills. Karlos Kuadrado´s bass playing is very aggressive and adjusts to the sound the band has achieved. Finally Antonio Romano performs excellent on guitars. Notches, high speed solos and ground breaking riffs can be listened through all this album, the only weak point is that maybe it is a bit repetitive, but I do not care very much if an album is varied.

Conclusion: This album destroys everything until there’s nothing left to be destroyed. 38 minutes of riff after riff after mother fucking riff, notice that every song is a highlight and also there is nothing even similar to a ballad.