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Progressive sounds of rock from Rosario | Danae & Pasternak in the Atlas

Danae & Pasternak It is the sufficient title with which the Atlas Cultural Complex (Miter 645) receives, today at 9:00 p.m., two of the city’s leading progressive rock groups. With relevant trajectories, both have the influence of seminal groups such as Genesis, Deep Purple or King Crimson, but within the framework of personal and different proposals, which outline a musical world of surprising sounds.

Dánae was born in 1979 and spent much of the ’80s. The group broke up, but years later the desire was stronger: in 2004 they recorded their first album, Danae; the one he followed jellyfish, in 2012. The band is made up of Willy Torres (bass), Roberto Tato Ferraris (drums), Marcelo López (guitar) and Pablo López (guitar). For his part, Pasternak says he practices a “disrespectfully symphonic rock”, based on the harmony between Ariel Dogliotti (composition and guitars), Carlos ‘Tweety’ Tegiacchi (keyboards), Carlos Candia (lead voice), Daniel ‘Guly’ Cirrincione ( keyboards, bass and second voice), Mariano ‘Palmer’ Palmerio (drums and percussion), and Pablo Fernández (stage production and videos). The group’s first album is on the immediate horizon.

“We are a group of friends and the work we do is personal, I put together the ideas and we translate them into rehearsals. But the composition takes us a long time, it is not something that is done from one day to the next. It’s all in groups, each one puts their idea, that’s the way of working. Practically like a child’s game, something that does us very good. We are not a commercial band and we plant a flag of the ’80s, because the sounds may be new but the musical criteria is from that time, because of the way they work, because of the harmonic way. For the second album we incorporated Tato Ferraris on drums, who contributed another criterion, he is more measured in terms of rhythm, and that led me to other possibilities, to work with chords and link the two guitars from another place. That provided a very particular sound and it shows”, comments Willy Torres, bass player of Dánae, to Rosary/12.

“Ariel (Dogliotti) or Tweety (Tegiacchi) are the ones who present the skeleton of the composition, then we contribute from each instrument, with arrangements, climates, games, changes of rhythm, new nuances; In my case, if I play 4/4 for more than six bars, I get bored, so you have to look for many nuances. But it is a type of music that allows it. If there is something that interests us and it seems like a good arrangement, we try not to repeat it. In addition, the lyrics, where I also participate, go the other way, different from traditional symphonic rock. We go on the side of personal experiences, social and existential issues, from a place of poetry that generally works a lot with irony”, explains Mariano Palmerio, Pasternak’s drummer.

Among the historic rock posters from Rosario that the blog gathers Underground Generation Rosario, there is one of Dánae together with Charlie Bustos, Oasis and Fricción, for a show at the Young Men’s Christian Association. “That’s the year ’82 –the bass player responds quickly–, I think the Malvinas war had ended”.

-And how do you remember those years?

-A whole new idea appeared, with different perspectives. Pablo El Enterrador, who had been working for a long time, was able to record his first album, but we didn’t make it. You had to enter a record company –it could be ION or Sonus, here in Rosario– but it was very expensive if you didn’t have someone to pay for you. That was a kick back in the group and it also got to tire us, to dissolve us. We didn’t play for a while. I leaned more towards jazz, I went to play with Teresa Parodi from ’89 to ’93, but then we began to connect and play again, and in 2004 we just recorded the first album.

-And the relationship in those early years with the public?

-After the dictatorship left, pop came in, and it kind of clouded the situation a bit. Other bands emerged, with another style, like Graffiti and many other groups in the city. I started playing with Metro a Tokio. We had left this aside because it was already pointing to another issue, everything was more commercial and the bands could record, it was another movement. As for the relationship with the public, here the memorious always remained, those who tell you “I heard them play on that side”, but Dánae is not a band that filled stadiums, our name was not as present as that of Pablo El Undertaker. But we do not compare ourselves with them! In fact, I also played with José María (Blanc), with Turco (Jorge) Antún, with (Marcelo) Sali, they are fantastic people. Ours, Dánae, was always like another love.

In the case of Pasternak, the “disrespectfully symphonic rock” that Mariano Palmerio points out has its justification: “Symphonic rock bands sometimes fall into common places, and that ends up killing any genre. Our concept goes more through the way of composing, rather than repeating tropes or sound formulas. Ariel (Dogliotti) has a very important classical training, with a lot of talent, his compositions flirt with the classical but entangle parts of tango and folklore; the style or the form are symphonic rock, but the contents are current”. In addition, Pasternak announces the guest appearance of Claudio Lanzini, “he is our cherry on the cake, as he is a great saxophonist, who comes from the jazz style and is going to do some songs with us. And another aspect is the images, by Pablo Fernández, an absolutely expressive videographer, who works with images without being the correlate of the lyrics, from a poetry that plays with music and reinforces the proposal: create plots without repeating, As much as possible, I did it.”

-Is a first album in preparation?

-We’re recording. That is something that the pandemic tripped us up with, because we recorded some things a year or a year and a bit ago, but we are going to have to do them again because we keep making arrangements for them. But the record is in progress.

Dánae will give space in her repertoire to the memory of her first drummer, Sergio Schegtel, who died a short time ago. “It was he who helped us find the path we wanted; what we do now is part of that. The first three songs that we are going to play are compositions that he played, so we are going to pay him a kind of tribute”, concludes Torres.

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