In the category of “Mexican post-rock”, Wikipedia lists only three bands, while neglecting to name my own personal favorite, The Polar Dream, as well as my new favorite, A Shelter in the Desert. (Oddly, The Polar Dream’s album is called “Follow Me to the Forest” ~ a geographical theme seems to be developing.) This may be interpreted as an indictment of Wikipedia, but more pertinently demonstrates the dearth of post-rock south of the border. It’s a pleasure to see this issue addressed by these lads from Ciudad.
Maze of Memories is an apt title for this album in more than the obvious fashion. While listening to post-rock, it’s common to drift into reverie, the mind dissolving into the drift of ten-minute tracks, rising and falling with crescendoes and interludes, distorting time and place. And yet, because this album is an explosion of what one might term “classic” post-rock, it’s also a commentary on the way we view the genre’s development or lack thereof. There are two major camps of opinion regarding this issue. Some insist that the only good post-rock is the post-rock that pushes the genre forward, while others defend the staples of the genre and cling passionately to the builds, waves and crushes. I’m of the latter camp; I love hearing post-rock done well, and believe an album can stand out by being well-written and performed, even when indistinguishable in timbre from its peers. This is the realm occupied by A Shelter in the Desert; one might think of the band as “a shelter in the desert of common post-rock”, making Maze of Memories more than an oasis, but a renewal of faith. Perhaps the best way to make the argument is this: do you wish that your favorite post-rock bands had made more albums before breaking up or changing their sound? Think of this as one of those unmade albums, or an undiscovered (but well-mastered) demo) and you’ll be happy.
So yes, here we go, we’re climbing the Mayan temple, we’re watching the sunset, we’re sailing over a tumultuous sea, we’re watching armies surge and fall. This is BIG music, suitable for scores. This is the sort of stuff we wanted more of, but never received, like a second Christmas in the middle of the year. Boom with the drums. Whoosh with the guitars. Five tracks, each nearing or exceeding ten minutes. Come on, now, it’s okay to like this. Wikipedia can catch up later. (Richard Allen)
a closer listen 