Levántate... y pelea!

If you ask any serious metal head to mention you some of the most prominent bands that have ever walked over Venezuelan soil, Gillman is going to be one of the most common answers that you will instantly get. Some may worship him, some may acknowledge his talent and legacy, and a few others may hate him for being a Chavista –A term used to describe any Venezuelan who supports Hugo Chavez’s government and shares his ideology. However, I am not into politics and any of that bullshit, so I will focus in what really matters, and that’s on Paul Gillman’s music career and, more important, on his acclaimed debut album.

After he walked away from Arkangel, one of the heavy metal pioneers in Latin America, Paul decided to create an independent solo project, which would allow him to reflect his ideas with no boundaries, and having full creative control of his music. “Levántate y Pelea” shows the bravery of a young warrior who speaks about all of the issues that happened inside the society in which he moved day after day. This is how lyrical themes involving free of mind; revolution, anti-anarchy, and rebellion are portrayed without feeling any remorse, timidity, or fear at all. Not only Gillman has an unquestionable talent in the song writing field, but his music has had solid structures of the most remarkable heavy metal icons. However, this genius doesn’t stop there, because he adds a wide variety of progressive elements to the album, as well as hard rock oriented instrumentation and ass-kicking technical riffs. This is one of the reasons why “Levántate y Pelea” is something worth to listen, because it’s not an average release, and it proves once more how powerful the metal scene is in this side of the world.

Maybe one of the most interesting highlights from the album is that the songs are built with much more than just the classic heavy metal formula of a stanza, plus a bridge, plus a chorus, plus a guitar riff, and then, repeat again. Thankfully, Gillman defies the odds, and brings to life a pack of instrumental passages influenced by the Scandinavian and British stars that rose to fame in the early 80’s, where the work of dual guitars shredding fires up the atmosphere. Some tracks have beautiful acoustic intros, and a constant change of tempos. The sound mix is decent, a bit raw and somehow dirty, but that’s an essential beauty of early heavy metal, isn’t it? This is the same sound that defined most of the Venezuelan acts of the 80’s. In addition, Gillman’s performance is quite good in 70% of the release, he sings with indescribable passion, and you shiver every time he screams in some specific parts, but, unfortunately, in those years he still didn’t have full control over his voice. However, I will refer to this particular issue later in my review.

Seven songs integrate “Levántate y Pelea”, give you almost forty minutes of memorable head banging moments, and although there are some flaws, the album has more than one surprise in store for the listener, because it’s not predictable at all. Featuring the mind blowing opener named Corazón de Rock Pesado (Heart of heavy rock), which has since been one of the most requested songs in the band’s gigs, it mixes AC/DC inspired tempos, with an amazing work by the guitars, which sound clean and properly levelled. It’s a nice way of saying “SHUT UP AND LISTEN!!!” to all those ignorant who think heavy metal is not a worthy music genre. If this track caught your interest, then it’s time to grab yourself in and enjoy the rest of the journey, because when you read the other song titles, you understand that the album has a heavy metal smell in each side of it. With “in your face” lyrics Víctimas de la sociedad (Victims of society), is perhaps the most technical and diverse song of the record (Not to mention that it’s the longest, too). Here you will find the best guitar shredding of the whole album, and an excellent drumming performance from beginning to end, so don’t forget to check them out! These details remind you of the sounds from Iron Maiden’s first two albums, when “The Beast” Paul Di’Anno was still the front man. Some riffs have the explosive energy of songs as “Charlotte the Harlot”, or “Transylvania”, and they’re an evident homage to that one respected UK band led by Steve Harris. In addition, and thanks to its length, it also features a series of progressive elements, which captivate the ears; because Gillman shows a new and improved face of heavy metal. Levántate y Pelea” (Stand up and fight) is another praised and speedy anthem, which starts with an unexpected tricky acoustic guitar solo that makes you think you’re about to listen to a ballad. However, after a mellow performance by Gillman, an electric guitar steps in and changes the course of music, injecting a direct port of virtuosity in the air. It has a straight rhythm line, and it’s well-known for being one of Gillman’s most solid anthems. Thanks to its catchiness, you immediately feel trapped by its supersonic vibes. Something similar happens with La historia del anticristo (The anti-Christ story), a heavy track, which begins with a mysterious voice that tells us about Lucifer, and how he’s running free from his chains after 1,000 years of lethargy. This apocalyptic song has incredibly well carved lyrics, and when the first chorus ends, you listen to a devilish growl, and then everything turns into a hard rock piece. As you can see, the intensity increases and decreases frequently, and the song comes to an end with a few creepy whispers.

El Poeta is a very wonderful ballad, which starts with a harmonica, and it tells a story about a musician’s life. He becomes successful, and rises to worldwide fame. However, if you thought this song is about a fictional character, you’re wrong. This song is inspired in the life of legendary Jim Morrison (The Doors). This is the point of relaxation where you can breathe deeply for what’s about to come. The ridiculously happy El Rock & Roll de la amistad is an average fast-paced rock ‘n’ rollish tune with no interesting elements, and its crappy chorus can easily stay inside your head. Don’t worry if you find yourself mumbling ”Ven a cantar el Rock & Roll de la amistad… Ven a cantar el rock ‘n’ roll por la paz”. It’s disposable, yet entertaining, because it rescues the early 60’s rock, when its roots were sown all around the world. This is the only song that I particularly dislike of the record, but that doesn’t mean it’s bad. Finally, “Agonía” (Agony) which is a mid-paced heavy track, average and catchy, it includes decent riffs, and a long instrumental break, where the band, as usual, amazes us with slower tempos. An acoustic and melancholic guitar closes this magnificent piece of music.

“Levántate y Pelea” has some minor production flaws, but the big and most noticeable one is Gillman’s voice. By the time he released the album, (As I aforementioned) he still didn’t have full control over his voice. That’s why he sounds out of tune in some parts of the album, especially in the first notes of “Corazón de rock pesado”, or in the chorus of “Víctimas de la sociedad”, because every time he opens his mouth there, it seems as if he is being ass-fucked. Anyways, Paul is more careful in the rest of the album, and, fortunately his later works showed huge improvements, if you compare them with his early works.

CONCLUSION: This is, with no doubt, another powerful achievement of the 80’s, and a larger-than-life release from one of South America’s most talented song writers and musicians who contributed to history. There are small slips in sound quality and some “ups” and “downs”, but that doesn’t change the fact that Levántate y Pelea is still a true and classic “must have” jewel.