Nirgal Vallis – Y Murio La Tarde (1985, CD, Mexico)

Tracklist:
1 La Espera (Un Ser Llamado Muerte) 5:39
2 Y Murió La Tarde... 9:51
3 Alberich 1:06
4 Hiperdulía Al Fracaso 4:00
5 Memorias De Un Cometa 12:21
6 Persistencia 3:58
7 El Tiempero 5:46
8 Premonición 5:32

Musicians:
Electric Guitar, Acoustic Guitar, Acoustic Guitar [12 String] – Alejandro Schmidt
Electric Piano [Fender Rhodes], Piano, Synthesizer, Jarana, Kalimba, Recorder, Acoustic Guitar [12 String] – José Luis Fernández Ledesma Q
Percussion – Rafael González
Violin, Violin [Electric], Mandolin, Recorder [Tenor] – Ramón Nakash
Vocals – Claudia Martínez De Alba

Bass, Acoustic Guitar, Acoustic Guitar [12 String] – Julio Sandoval

NIRGAL VALLIS was a Mexican group that released one album in the eighties. The line-up of the group was: JOSE LUIS FERNANDEZ LEDESMA (keyboards, jaranas, kalimba, recorders, acoustic twelve string guitar), Ramon Nakash (acoustic and electric violins, mandolin, tenor recorder), Alejandro Schmidt (acoustic and electric twelve string guitars), Rafael Gonzalez (percussion) and Claudia Martinez de Alba (voice). Ledesma, Nakash and Schmidt who were high school friends founded the group.

The only album "Y Murio la Tarde" was released in 1985. The music in this album is very mellow symphonic progressive and it has a strong folk influence. The group reunited for a period of time and recorded some new tracks for the re-release of the album and the 1995 released version by Musea Records includes these new tracks. This is an enjoyable Mexican album that should please fans of folk oriented symphonic.

NIRGAL VALLIS was the first group of Jose Luis Fernandez Ledesma Q. who is one of the most-known Mexican progressive musicians nowadays. He has released many solo albums and also albums in contribution with singer/composer Alquimia. (progarchives)

Greco Bastián – With A Little Hell From My Friends (2022, CD, Mexico)

Tracklist:
I. Proteo Revampirizado 6:30
II. Zidane Racist 6:29
III. Zeuhlito Lindo 5:27
IV. Oniontown 5:44
V. Aclowntrenós 4:44
VI. My First Metal Swing Set 2:09
VII. D.A.S. 1:42
VIII. Don't Open Till Christmas 3:13
IX. Exit Filming For A Muse 4:59

Musicians:
Acoustic Guitar – Edson Santana Reyna (IV)
Bass Guitar – Hey Figueroa (IV), José Luis Velasco (VI), Matt Lebofsky (I to III)
Charango [Charango Guitar] – Edson Santana Reyna (I)
Drums – Armando Lagarda (VI, IX), Jon Bafus (II, IV, V), Tatsuya Yoshida (I, III)
Electric Guitar, Soloist – Samo Salamon (II)
Electric Guitar – Pierre Vervloesem (II)
Electric Guitar – José Luis Velasco (II, IV to IX)
Electric Guitar, Bass Guitar – Emmett Elvin (II)
Piano [Slightly Prepared Piano] – Jean-Luc Plouvier (III)
Piano, Keyboards – Vincent Sicot-Vantalon (IV)
Saxophone – Patrick Shiroishi (III), Ryoko Ono (I)
Xylophone – Gerardo Ramlop (V, VI)

Composed By, Software Instrument [VST Effects] – Greco Bastián

Saena – Días Eternos (2021, CD, Mexico)

Various – Festi Jazz Vol. 1 (198?, Cassette, Mexico)

Tracklist:
A1. Juan José Calatayud – Delirio (6:13)
A2. Hilario y Micky – I Get A Kick Out Of You (4:09)
A3. Cuarteto Mexicano De Jazz – Now's the Time (10:29)
B1. 0.720 Aleacion – Marcha Sideral (5:48)
B2. Gerardo Bátiz – López le va a las Chivas (5:18)
B3. Joao Enrique – Sangría (5:14)
B4. Antropoleo – Antropoleo (5:50)

El Festi Jazz y estos dos discos LP (Vol. 1 y Vol. 2) son el resultado del esfuerzo de un grupo de jóvenes trabajadores de la cultura interesados en promover de una forma integral a valiosos músicos independientes comprometidos con el quehacer jazzístico en nuestro país. A ellos que depositaron su confianza en nosotros y a todos los que hicieron posible la realización de este proyecto gracias. Jorge Wade.

Various – Festi Jazz Vol. 2 (1988, Cassette, Mexico)

Tracklist:
A1. Antropoleo – Nexus, Plexus, Sexus (6:50)
A2. Banco Del Ruido – Candombe No. 2 (12:54)
B1. Banda Elastica – Perversosn Polimorfos (10:57)
B2. Gerado Batiz – La Guguis Guguis (3:13)
B3. Veronica Ituarte – Encuentro (5:02)

El Festi Jazz y estos dos discos LP (Vol. 1 y Vol. 2) son el resultado del esfuerzo de un grupo de jóvenes trabajadores de la cultura interesados en promover de una forma integral a valiosos músicos independientes comprometidos con el quehacer jazzístico en nuestro país. A ellos que depositaron su confianza en nosotros y a todos los que hicieron posible la realización de este proyecto gracias. Jorge Wade.

Alquimia – "Coatlicue" Goddess Of The Earth (1992, CD, Mexico)

An independent artist, composer, synthesist, percussionist, and vocalist, Alquimia is known mostly in new-age and fourth-world music circles, though her work truly transcends any form of categorization. Now living in London, her primary influence continues to be the pre-hispanic culture of her native Mexico. Her collaboration with J.L. Fernandez Ledesma on the album Dead Tongues (review in issue #10) piqued this writer's interest, beckoning further exploration. The music herein is primarily an expressive mix of pre-hispanic percussion, ambient droning synthesizer work, electronic effects, and ethereal multi-layered vocal work (no lyrics), with occasional flute and guests contributing guitar, violin, and more percussion to the odd track — but for the most part all instruments are played by Alquimia. Someone looking for comparisons might consider her music as a meeting of the ethnic percussive based work of people like Jorge Reyes, and the vocalizations of folks like Enya, sprinkled with a healthy dose of experimentalism. The earlier album is the most experimental and traditionally ethnic of the two, with its lengthy multi-part title suite. The '95 album is perhaps the more spacy and dreamy of the two, and a bit more vocal as well (many of the sounds which one might be believe to be synths are, on closer scrutiny, actually voices). Either disc is outstanding, though the more recent album is probably a better starting point for most. (Exposé)

El Arca de Valjós - Water Nimphs (2015, Mexico)

El Arca de Valjós is the personal project of Raúl Valverde, a veteran militant of the Progressive Rock, Avantgarde and Experimental scene in Mexico; Composer and guitarist of the cult band Stultifera Navis, a band that alternated in that mythical show that the legendary Univers Zero gave in Ecatepec in 2009.
El Arca de Valjós turns out to be his most personal project from 2012, where he develops an Avant-Progressive sonic luck that recapitulates many of the academic-musical schools of the last 120 years, resulting in a kind of visual-plastic evocation that they have as a vehicle the music that from its beginnings has attracted the attention of listeners outside of Mexican territory who have enthusiastically reviewed his work for years, reaching lands as distant as some ex-Soviet republics as well as some European countries.

Decibel ‎– Méliès (Música Inspirada En Los Filmes De George Méliès) (2012, CD, Mexico)

The legendary Mexican art rock band which formed back in 1974 presents Melies, music inspired by the classic short films of Georges Melies (1861– 1938) composed and recorded in Mexico City by keyboardist Carlos Robledo, bassist Walter Schmidt, Alejandro Sanchez on violin, Alex Eisenring on guitar and synths, Javier Baviera on sax and special guest Carlos Vivanco on guitar.

The High Fidelity Orchestra ‎– The High Fidelity Orchestra (1984, CD, Mexico)

Tracklist:

1. Las Hormigas 3:42

2. Ocho veces para arriba y abajo 3:54

3. La procession de los patos sin cabeza 4:54

4. Si los caballos no piensan porque los eligen presidentes 3:21

5. Piel morena 2:46

6. Anacronia 5:25

7. Blue 7:01

8. Oriente Express 4:45

9. Las montanas de la Luna 3:20

Line-up:

Jesus Gonzalez - electric & acoustic guitars, synthesizers & piano, percussion

Rene Romero - semi-acoustic guitar 

Raymundo Barajas - drums & marimba 

Gilberto Gonzalez - bass

Guest musicians:

Alex Elsenring - keyboards on 2, 3, 5, & 6 guitar on 5 & 6

Miguel Samperio - sax on 7

Cuauhtemoc Novelo (of Nazca) - congas on 5

Ernesto Ramirez - marimba on 8

A Mexican Prog band from early-80's, centered around guitarist/keyboardist Jesus Gonzalez, who was the main composer of the group, propably hailing from Guadalajara and having tight links with Avant/Chamber Rockers Nazca.The original quartet included also Rene Romero on guitar, Gilberto Gonzalez on bass and Raymundo Barajas on drums.They recorded their self-titled debut in just a few days during September 82' at the Arycd Studios and this work features guest appearances by Nazca's Cuauhtemoc Novelo on congas and Alex Eisenring on synthesizers.It was released either the same or the following year on the unknown Maggot label, which was been possibly fronted by Gonzalez himself.

An extremely short LP at around 23 minutes, ''High Fidelity Orchestra'' is weird album of KING CRIMSON-ian complex Heavy/Fusion surrounded by some psychedelic/atmospheric colors through the use of synthesizers and highlighted by an extremely talented guitarist, who's style was absolutely fiery, technical and frenetic.The music is mostly complex, instrumental Progressive Rock from the 75'-81' KING CRIMSON period with jazzy underlines, full of sudden breaks, changing tempos, sinister grooves, time signatures and syncopated rhythms.They sound a bit abstract at moments, but every spin reveals new details and strong consistency in the group's instrumental blowout, perfectly supported by impressive bass work and a great drummer.The mellow parts have an evident psychedelic atmosphere, while the more synth-drenched parts even contain a light sense of melody closer to compatriots ICONOCLASTA and DELIRIUM, who were dominating the Mexican Prog scene of the time, trying to mix guitar-based Prog Rock with synth-led Fusion.The very short ''Piel morena'' even contains some marimba tunes in an attempt by the band to add a more Ethnic touch in their otherwise complicated material, while the dramatic synth lines on the closing ''Anacronia'' have a certain symphonic nature.

I hate to say that I have not listen to the reissue of the album by Smogless Records, which contains a few bonus tracks, recorded around mid-80'd by the band.But even this original listening offers an extremely technical and interesting Prog Rock by The High Fidelity Orchestra with the very limited time length leaving the listener starving for more.Strongly recommended, propably the CD reissue is a more essential purchase than the original vinyl. (apps79)

Nirgal Vallis ‎– El Orfebre (1991, Cassette, Mexico)

Lado A
1. Entre Las Cinco y Las Seis
2. Los Llamados
3. Detrás de Un Cristal
4. Buscad Un Puerto
5. Un Tema Para Adán
6. Avalon
7. Crisis
Lado B
8. Parábola
9. Un Hombre Avanza
10. Blues de Esteban
11. Visiones
12. Los Hijos
13. La Ley Inexorable
14. El Orfebre
15. Final

Nirgal:
Jose Luis Fernandez Ledesma: Teclados, Voz, Percusiones
Luis Miguel Lombada: Voz, Bajo
Alejandro Schmidt: Guitarra Eléctrica, Guitarra Acústica, Bajo, Percusiones
Sergio De Régules: Piano, Teclados, Percusiones
Mauricio Romero: Sonido e Iluminación en Concierto

Composición y Arreglos: Nirgal
Programación de la batería Electrónica: J.L. Fernandez Ledesma, A. Schmidt, S. de Regules sobre los Arreglos de L.M Lombana
Grabado en el Estudio de J.L. Fernandez Ledesma entre julio de 1990 y enero de 1991
Grabacion: J.L. Fernandez Ledesma y A. Schmidt
Mezcla: J.L. Fernandez Ledesma, A. Schmidt, S. de Regules
Edicion del Master: S. de Regules


NIRGAL VALLIS was a Mexican group that released one album in the eighties. The line-up of the group was: JOSE LUIS FERNANDEZ LEDESMA (keyboards, jaranas, kalimba, recorders, acoustic twelve string guitar), Ramon Nakash (acoustic and electric violins, mandolin, tenor recorder), Alejandro Schmidt (acoustic and electric twelve string guitars), Rafael Gonzalez (percussion) and Claudia Martinez de Alba (voice). Ledesma, Nakash and Schmidt who were high school friends founded the group.

The only album "Y Murio la Tarde" was released in 1985. The music in this album is very mellow symphonic progressive and it has a strong folk influence. The group reunited for a period of time and recorded some new tracks for the re-release of the album and the 1995 released version by Musea Records includes these new tracks. This is an enjoyable Mexican album that should please fans of folk oriented symphonic.

NIRGAL VALLIS was the first group of Jose Luis Fernandez Ledesma Q. who is one of the most-known Mexican progressive musicians nowadays. He has released many solo albums and also albums in contribution with singer/composer Alquimia. (progarchives)

José Luis Fernández Ledesma ‎– Extractos (1997, CD, Mexico)

Tracklist
1. Invocation (4:55)
2. Alba Lunga (2:55)
3. Los Amorosos (6:25)
4. Irulán (5:24)
5. Las Esquinas Del Tiempo (6:30)
6. Umbrio Por La Pena (1:28)
7. La Cofradia (4:17)
8. La Tarde Del Traje Morado (5:17)
9. La Nave Blanca (5:56)
10. Marzo del 42 (4:19)
11. El Mar (6:01)


Ledesma followed his impressive debut from 1996 with yet another solo album called ''Extractos'', released in 1997 and belonging among the first productions of the emerging Mexican label Luna Negra.Most of the musicians appearing in ''Motivos para perderse'' are present here as well, but the line-up was actually quite expanded with 10 singers and musicians helping out in the 14 displayed compositions.Ex-Nirgal Vallis guitarist Alejandro Schmidt teams up with Ledesma again in one track, playing the electric guitar.

''Extractos'' sounds a step closer to atmospheric Prog Folk, having a more peaceful, gentle and relaxed side compared to Ledesma's debut, always driven by the Mexican's beautiful keyboard and piano passages and exhibiting an array of traditional instruments, the final result coming close to the mellow sound of Italian's HOSTSONATEN. The basic lines of the album are built around the work of Ledesma on acoustic strings and a nice combination of synthesizers, electric and acoustic piano, producing rural soundscapes with a slightly atonal mood and an overall ambiental approach. The music becomes occasionally richer with the addition of percussion, violin and wind instruments and obtains a dreamy feeling via the presence of the guest female vocalists. The MIKE OLFDIELD principles become also apparent during these tracks, some of them feature a discreet touch on electric guitars. Ethereal folky orchestrations with a genuine identity, which could have a been a little more energetic. But Ledesma never forgets about his previous days with NIRGAL VALLIS and certain pieces in here, especially the longer ones, still retain a symphonic atmosphere with more pronounced electric guitars and keyboards. The music of course remains very delicate and polished with some dark parts at times, led by Ledesma's tricky synth, organ and piano plays, which result to some fine instrumental Progressive Rock with a challenging sound.
I can't say that I am that impressed by this album after Ledesma's fantastic debut. It is less balanced and more towards ambiental Prog with folky colors, but the arrangements are always of high class with good use of acoustic instruments over a palette of keyboard flashing. Recommended. (apps79)

Margarita Botello, José Luis Fernández Ledesma ‎– La Paciencia De Job (2006, CD, Mexico)

Songs:
1. Leyenda (8:03)
2. Naufragio (8:17)
3. Jardin de los Senderos (8:48)
4. Palabras Como Astros (7:04)
5. No te Pude Contestar (3:47)
6. Los Jueces del Mundo (11:04)
7. Vidas Atras / Noche (11:43)
8. Donde Nadie (1:25)
9. Paciencia Infinita (9:28)

Musicians:
José Luis Fernández Ledesma / acoustic, 12-string & electric guitars, lute, Fender Rhodes & Yamaha P100 e-pianos, Oberheim Matrix, Crumar Spirit & Korg MS20 synths, piano, synth bass, flute, harmonium, melodica, ocarina, darbuka, vihuela, autoharp, djembe, xylophone, percussion, electronics, loops, vocals
Margarita Botello / vocals, piano, santoor, bells, harmonium, ocarina, percussion, kalimba, maracas, claves, marimba, synth bass
With:
Juan Carlos Ruiz / bassoon
Gustavo Albarrán / French horn
Hugo Santos / bass
Carlos Bonequi / drums
Alejandro Sanchez / violin
Eduardo Melendez / baritone sax
Vitali Roumanov / cello
David Ball / bassoon
Ramón Nakash / violin

La Paciencia de Job is another of Ledesma’s more experimental works, though here ‘experimental’ does not imply dissonance or improvisation, as the music is highly-structured and classically beautiful. The album again features Botello’s beautiful voice and a number of other musicians. The music is subtle and complex, combining classical, ambient, and ethnic music with progressive.

Vía Láctea ‎– Vía Láctea (1982, LP, Mexico)

Side A
A1. La Estructura Del Universo (6:59)
A2. El Jardin De La Presencia Divina (8:26)
A3. Via Lumiere (3:52)
Side B
B1. El Hombre En La Eternidad (4:38)
B2. Meditacion Post Atomica (6:30)
B3. La Alondra Y La Virgen (8:19)

Musicians:
Synthesizer, Vocoder, Piano, Flute, Tape – Carlos Alvarado
Flute, Tambora, Kalimba – Jorge Reyes
Synthesizer – Herminia S. Alvarado
Guitar – Arturo Meza

Composed, Arranged, Producer, Directed By Carlos Alvarado

Note
Recorded at Estudios "Crystal", 14-21 March 1980.

Vía Láctea started in the 1970's as a "cosmic music" outfit. It was led by two musicians Carlos Alvarado and Miguel Angel Nava. The music featured classic spacey synthesizer excursions ala Tangerine Dream and Klaus Schulze but more quiet, restained and Ambient-like, with sometimes Ethnic / Prehispanic influences creeping in. After the first album Miguel Angel Nava left the band, leaving synthesist Alvarado as the sole member. He continued to release albums, sometimes helped by fellow experimentalists Jorge Reyes, Arturo Meza and others.

Banda Elastica ‎– Banda Elastica (1987, LP, Mexico)

SIDE A
A1. Infantes Terribles (5:44)
A2. Alto A La Caceria (3:48)
A3. Derrumbes En Almibar (4:12)
A4. Aun Pero (2:21)
SIDE B

B1. Salon Victoria (3:09)
B2. Pesadilla (3:50)
B3. Infrasapienz (5:08)
B4. Quepocalipsis (7:51)

Line-up / Musicians
Guillermo Gonzalez / Guitars
Rodolfo Nava / Drums, Percussion
Jose Navarro / Marimba, Percussion, Drums
Jose Luis Romero / Saxophones & Clarinets
Lucio Sanchez / Bass, Guitar
Rosino Serrano / Synthesizers, Piano, Organ

with

Cecilia Valdes / Flutes (A1, A3)
Rodrigo Miralda / Percussion (A1, B1)
Cox Gaytan / Viola (A3)
Enrique Gonzalez / Violin (A3)

Antonio Russek/ Raúl Pavón/ Roberto Morales/ Vicente Rojo ‎– Música Electroacústica Mexicana (1984, LP, Mexico)

A1 - Antonio Russek - Para Espacios Abiertos (13:55)

A2 - Raúl Pavón - Fantasía Cosmica (9:10)

B1 - Roberto Morales - Agua Derramada (10:20)

B2 - Vicente Rojo - Vulcan (11:10)

Colección Hispanomexicana de Música Contemporánea Vol.3

Alquimia & Jose Luis Fernandez Ledesma ‎– Dead Tongues (Lenguas Muertas) (1996, CD, Mexico)

Atmospheric, evolving, intricate and layered; a suite of fine compositions and carefully crafted sounds. Consistent creation of another place, another time.

Dead Tongues is Mexico-born singer Alquimia's third album and her first to have been widely available. A collaboration with keyboardist Jose Luis Fernandez Ledesma, it also includes appearances by Arturo Romo (percussion), Julio Sandoval (bass), Blu (saxophones), and Ramon Nakash (violin). The match between Ledesma and Alquimia is perfect: both play many instruments and conceive their music as accumulated layers. It results in dense pieces filled with keyboard parts, flutes, multi-tracked vocals, and samples related to folk music or traditional everyday activities. The album is bookended by "Foundations" and the two-part title track, both highly evocative pieces featuring recitation by both musicians. Ledesma's texts conjure up dead civilizations. Added to Alquimia's often-dreamy vocal constructions (a Mexican version of Enya?), they provide a slight new age aura that is not completely brushed off by the daring arrangements. In between these two songs there is the suite "Road to Santiago" -- a series of impressionistic snapshots -- and three more instrumental pieces, very soft and somewhat immaterial. They lack focus and leave the listener wondering what they should have been about. Dead Tongues stands among the most accessible (as in "marketable") albums ReR Megacorp has released. Followers of the label may find it lacks challenge, but fans of haunting female vocals and those looking for a touch of exoticism will appreciate.

Erehia ‎– Manuzkritoz Ze (1999, CD, Mexico)

A Mexican rock outfit EREHÍA, founded by Jorge Gaytan (bass, viola; ex-NAZCA, BANDA ELÁSTICA) and Tizok aka Tizok Briseno (guitar, drums, programming) in 1998, have a career of over decade in "Rock en Oposiciòn" scene. Under the influence of King Crimson, Univers Zero, or Frank Zappa, they have shoved strong dissonances and frequent rhythmic pattern alterations forward, which have been crystallized into their debut creation "ManuzkRitoz ZE" released in 1999 via Smogless Records.

Decibel ‎– Insecto Mecánico (2015, CD, Mexico)

Decibel are an on-again/off again legendary Mexican chamber/rock group with improvisational leanings who released their 1st album in the late 70's, but are probably best known for their very fine contribution to the excellent and fondly remembered Recommended Records Sampler double album. This 2015 release consists of recordings from 2011-2014 and features the leadership of original member and leader Walter Schmidt, with appearances by Carlos Alvarado, Ramses Luna (Cabezas de Acera, Luz de Riada), Juan Carlos Ruiz (Arteria) and other musicians.

CD 1 - Reliquias
1. Insecto Mecanico (5:22)
2. El Eclipse (5:39)
3. Mahabarata (6:14)
4. Le Vampire Glace (9:19)
5. El Otono En Pekin (6:49)
6. Anemic Cinema (3:46)
7. La Estrella De Mar (15:51)

CD 2 - Premoniciones
1. El Calor Que Cayo Del Cielo (11:04)
2. En El Abismo (5:36)
3. Ley De Murphy (5:17)
4. Flamel's Bebop (7:44)
5. Blavatsky (5:25)
6. Thot (Como Es Arriba Es Abajo) (10:37)
7. Fimis Gloriae Mundi (8:32)

Line-up:
Alex Eisening
Carlos Robledo
Walter Schmidt
With
Carlos Alvarado - percussion (7, 14)
Javier Baviera - sax tenor (2)
Elliot Levin - sax tenor (1,8, 11), flute (1)
Ramses Luna - wind midi (3, 13), sax soprano (13)
Victor Robledo - violin (5, 12)
Carlos Vivanco - guitar (2, 7, 8, 11), synth (9)
Juan Carlos Ruiz - fagot (9, 13)
Erika, Ivonne, Rosa Maria and Damian - vocal passages (7)

Gerardo Batiz ‎– Arlequín (1982, LP, Mexico)

Side A

A1. Aguamarina (A Elis Regina)

A2. Para Las Cebollas (Una Historia Inconclusa)

A3. Maginate Máscara

A4. Ruapango

Side B

B1. En Fa

B2. Amarillo

B3. Canto (g.c.p.p)

B4. Arlequín

Musicians:

Bass – Chuco Mendoza

Drums – Fernando Toussaint

Guitar, Voice – Eniac Martinez

Percussion – German Herrera

Piano, Flute, Steel Drums, Voice – Gerardo Bátiz

Voice – Cecilia Engelhardt

Very nice, mellow, electric progressive rock album. The wordless female vocals, approaching Zeuhl at times, defines this mature work. Piano and bass drive the music forward, and the contents are highly melodic. At times I'm reminded of some of the "lite Zeuhl" bands coming out of France in the 1980s like Foehn or Musique Noise. I even hear some Joe Jackson, and that's meant as a compliment. For me, it's better than all the aforementioned bands, and comes recommended. cdrwl