Style: Folk metal, progressive metal (clean vocals, Spanish lyrics)
FFO: Salduie, Rata Blanca, Alestorm
Country: Argentina
Release date: 31 Jan 2025
The South American continent has a famously passionate relationship with heavy metal1. Titans of every notable metal subgenre have spoken in interviews about the ardent dedication of South American fans; the breathless, crowding enthusiasm displayed by cheering masses in those countries. And you can see and hear it for yourself in live concert videos: whether it’s Nightwish or Iron Maiden, bands stirring masses of fans into such zealous devotion that they even sing along with the guitar solos. Inextricable from this fervent fandom is the fact that around the dawning of the age of heavy metal, many South and Latin American countries faced financial crises, authoritarian governments, and harsh living conditions. Some South American bands ventured into these perilous waters to tell true-to-life stories of their own, exploring lyrical themes grounded in the histories of their own countries, and laying the groundwork for a continental metal subculture that marries heavy music with lived experiences.
Onto this reverently set stage, welcome Arraigo. On their third full-length album, Crioyo, the band is here to illustrate what happens when you grab some gritty, down-to-business riffs, Argentinian cultural themes, and traditional instruments—such as the bombo legüero and charango, lilting tango-inspired rhythms, and richly harmonized vocal lines—and throw them all at the wall to see what sticks. The answer: all of it, and it all makes for a boisterously good time.
The word arraigo means “roots” in Spanish, and indeed, it takes all of twelve seconds for the band to show off their proudly Argentinian roots on “Tierra Adentro”, the album’s opening track. A heavy guitar riff that could easily come from Black Sabbath or the aforementioned Maiden is joined by charango (a member of the lute family) and woodwinds that whistle with a pitch and poignancy that calls to mind a train pulling out of the station, as Crioyo sets its course.
Vocals are led by Pablo Trangone, whose thick baritone delivery carries the salty grit of a weathered storyteller, captivating regardless of the listener’s knowledge of Argentine history or the Spanish language. But it’s the hearty vocal harmonies that take the effect up a notch. In “Tierra Adentro”, as well as throughout the album (“Un Demonio en el Cielo”, “Claypole”), these choral layers have an almost swashbuckling sound: one can easily imagine singing along to the many contagiously catchy melodies in a tavern with a pint of cerveza in hand. Arraigo also employs a dynamic use of stereo sound that’s overlooked by a lot of modern metal bands, making the vocal phrases feel like a call-and-response dialogue between the storyteller and his audience. And good luck making it through Crioyo without getting one of those infectious melodies stuck in your head; you’ll need it.
Though some tracks (“Gallo Negro”, “Sentires Chamameceros”) allow the folk instrumentations featuring accordion, violin, woodwinds, charango, and more to steer the ship, the album never strays far from its load-bearing heavy metal rudder. Vasco Perret on guitars bridges these elements skillfully, serving up both chugging, rhythmic riffs and sprightly, flamboyant solos that stand toe-to-toe with the gamboling traditional instruments, even in the same track (“Gallo Negro”).
While the instrumental underpinning of Arraigo’s sound is certainly robust and heavy enough to support harsh vocals, “Zamba para Despertar” and “Un Demonio en el Cielo” both feature singular throaty screams that, though they might make sense in the folkloric context of the songs, sit oddly next to the otherwise clean vocal performance. Similarly, sounds of an emergency siren or children playing on a playground (“Un Demonio en el Cielo”) rub anachronistically against the mythos.
In another example of the band not playing fully to their strengths, the gait of some tracks (“Zamba del Carnaval”, “Sentires Chamameceros”) can be a bit plodding, neglecting the danceable music in the album’s DNA. In “Zamba para Despertar”, the band seems to sense this before it happens, kicking the drums into double time with a minute and a half to go. Though there’s no insane shredding on display here, Crioyo’s best moments occur when the band is agile and quick on their feet. Minor quibbles aside, whether it’s the groovy trumpet on “Lejos a Buscarme” or the reverent, ecclesiastical a capella vocals that close out out Crioyo on “Claypole”, Arraigo keeps throwing more at that improbably crammed wall. Knowing that it all still sticks, the band swaggers confidently across the finish line.
Arraigo’s deeply-rooted pride in their homeland of Argentina is clearly foundational to their sound and storytelling. Crioyo’s album cover is essentially just a weathered Argentinian flag with the sun in the middle replaced with the album name. The love and passion for heavy metal on display from Arraigo, shared by so many of their South American peers, is matched only by their deep and solemn esteem for their country. Crioyo wears its heart on its sleeve, and the result is a spirited, diverse album that’s even greater than the sum of its parts.
Recommended tracks: Tierra Adentro, Un Demonio en el Cielo, Lejos a Buscarme
You may also like: Barloventos, Raza Truncka, Conception
Final verdict: 8/10
Related links: Spotify | Facebook | Instagram | Metal-Archives Page
Label: Independent
Arraigo is:
– Pablo Trangone: Voice – Derbaque – Leguero
– Mariano “Vasco” Perret: Guitars – Charango – Voice
– Leandro Ramogida: Guitar and Vocals
– Federico Pietro: Drums
– Leonardo Adamini: Bass
- COME TO BRAZIL ↩︎
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