Entre el cielo y el infierno

Today, many still wonder why in the world did Adrian Barilari and Hugo Bistolfi walk away from Rata Blanca after the release of "El libro oculto". Well, the former reviewer explained exactly what happened, but I mean... Altogether they had created a "dream band", because of the fantastic lineup that they had in those years, but sadly, everything that has a beginning, also has an end. Soon after their departure, Barilari and Bistolfi decided to focus in their project "Alianza". Now, it was difficult to predict the future of the band without those two vital members, because if Walter didn't make the right move while selecting the new frontman for his group, Rata Blanca's life would be in jeopardy.

Nevertheless, Mario Ian (Former member of respected bands like Hellion and Alakran, and currently working in IAN), was recruited, and Javier Retamozo became the new keyboardist. I have believed until this day that the right choice was made. This is how Walter Giardino and company returned to the metal scene in 1994 with "Entre el cielo y el infierno", perhaps the heaviest and most aggresive record from Rata Blanca, which came out in a time when their name became very well-known all over Latin America. However, the expectations and success achieved in Argentina years before, had started to gradually fade away due to unknown reasons.

"Entre el cielo y el infierno" is a little bit difficult to describe. Many things have changed throughout the years. First of all, this is a modern heavy metal album, with no power metal or neo-classical touches at all (As they used to play in their previous records). However, I feel that it was a good idea to stay with a single metal genre, because Ian's voice is not suitable for melodic albums such as "Magos, espadas y rosas". Mario Ian is one of the best singers in the Argentinian scene, and by that time, he already had acquired the necessary experience to carry on with the responsibility of becoming the band's new frontman. His voice is very different from Barilari's. Ian is fierce, less melodic and his shrieks in the high-pitched parts of the songs from this album are absolutely shocking yet brilliant. Besides, whenever he lowers the pitch of his voice, he can be able to sing memorable ballads, which are just as amazing as any ballad that Barilari has performed in his career.

Yes, people. No Helloween or Malmsteen influences around here. No fairies, no wizards, no fantasies, and no dragons. This is Rata Blanca's crudest and most realistic album, since the band explores modern world issues as war, AIDS, human self-destruction, freedom, violence. Strong songs like "En el bajo flores", "Bajo control", or "Maquina" reveal the new sound of the band, and leave you open-mouthed, because of the brutal shred fest that you find inside them. "Jerusalen" is a mid-paced song about Israel's capital city, and its constant struggle with other countries, a situation that has happened since the very early days of mankind, as Mario Ian sings and growls at the same time. The song features some catchy drumming and interesting percussion by the end of the song, which smartly close the track. "Sombra Inerte del Amor" is a slow-paced song which can be easily mistaken with a ballad, and it tells the story of an HIV positive person, who is desperately seeking for help. It is a huge lesson for all the people who discriminate others living with the AIDS disease. "Obsesion" is one of the fastest tracks in the album. It's an average heavy metal tune with a crappy chorus, and it describes the crazy rollercoaster ride in the life of a human being where sex and drugs are the most important things for him.

If you still haven't been hooked with this release (Something which I strongly doubt), then you should try listening to the glorious "Patria", which is one of those songs that makes anyone pull out his lighter while enjoying of the band's show, especially because of its memorable chorus. A song about Argentina's past and all of the bloodshed that was spilled in those years, with some of the most touching lyrics that I've ever seen from Rata Blanca, and by the end of the song, Mario Ian increases the pitch of his voice while he sings the word "Libres".

"Herederos de la fe" is an entertaining hard rock oriented track, and a good achievement from the band, because it's the song which would define Ian's music style after departing from Rata Blanca. However, catchiness also lives in songs like "Fantasma azul", or "Sin tu amor nada existe", the other two ballads of the album, which tell us about love, although "Fantasma azul" is sad and tragic, and it is one of the few songs where I can actually clearly listen to Retamozo's keyboards. "Sin tu amor nada existe" is somehow mellow, but since the album is very heavy-metal oriented, it doesn't fall in the same field of songs as "Noche sin sueños" (From "Guerrero del arcoiris"), or "Ella" (From "VII").

The album closes with "Banda viajera" (Traveling band), which is a cover of legendary hard rock band Creedence, and it brings some surprises to everybody because neither Barilari nor Saul Blanch recorded a song English during their own tenures with the band, but Mario Ian stepped in and said "Hey, why don't we give it a shot? I can do it." And he did very well, indeed. Two minutes of crazy riffing, speedy passages and a catchy voice from Ian gives the album a differrent, yet interesting closure. "Traveling band" is an epic tribute to one of the most influential bands in the hard rock scene.

"Entre el cielo y el infierno" is a very high end production, and heavy-metallish by all means. If someone asks me to select among the albums which defined the sound of the heavy metal from the 90's, this would be one of my first selections, because as I said before, "Entre el cielo y el infierno" focuses entirely in this single genre, without exploring other boundaries. The only low point that I have to mention is Retamozo's participation, which is very reduced (As it happened with Bistolfi in "El libro oculto"), and I find it to be totally unnecesary. Rowek, Giardino, and Guillermo Sanchez prove that they can grow musically, and this is why the band hasn't stopped amazing me since day 1. And, where do I leave that crazy dude named Mario Ian? Well, this gentleman earned all my respect because he took the heroic effort and responsibility left by Barilari, and he turned the situation in his favor. He contributed to write many of the songs from the album, and altogether with the rest of the members, made it a soild continuation of the previous release. Maybe not everyone was delighted of listening to Ian's blazing vocals, and maybe not all the fanbase recognized him as the best singer of the band, but his talent allowed him to become part of history, being the frontman of Rata Blanca, a band that has done it all, but still carries the heavy metal flag with pride after 20 years of making the best music of the world.

Highlights: "Bajo control", "Jerusalen", "Herederos de la fe", "Patria", "Fantasma Azul".

I had a story with this album: I read somewhere that "Entre el Cielo y el Infierno" had a much heavier sound than Rata Blanca's previous works, and this caught my interest. And one day, watching in my town's record store, I saw this album at a good price. After thinking a little, I decided to buy it.

We all know what was happening with Rata at that moment: Bistolfi left, not happy with the little participation in the band's previous disc; and Barilari also abandoned Rata Blanca, arguing family issues. Besides the band did not have any longer the popularity of a few years ago.

After those unfortunate events, Mario Ian and Javier Retamozo entered as replaces, and Giardino decided to take another direction in the group's sound. And so we start with "En el Bajo Flores" (In Bajo Flores), from the beginning much heavier than anything that RB did - Note: Bajo Flores is a neighborhood of Buenos Aires - which starts with a good distorted riff. It's a fast song with powerful and simple riffs, and a great solo. The keyboards can barely be heard in a little piece of this song. Then comes "Bajo Control" (Under Control), a song built over the same riff repeating itself all along. It can be repetitive, but I actually like it.

Other songs that are well done are "Sombra Inerte del Amor" (pay attention to the initials: SIDA - spanish for AIDS - and you'll understand the meaning of the song), a good mid-tempo; "Patria" (Homeland) a heavy ballad in which the guitar solo is a piece of "Aurora", a patriotic song; "Sin tu Amor Nada Existe" (Without your Love Nothing Exists), "Máquina" (Machine), similar to "Bajo Control", but slower and with much double-bass drum work; and the bonus track "Banda Viajera" (Travellin' Band), a cover of that Creedence classic, in a heavy, speedy version (it's one of the highlights of this disc)

The Band:

Walter Giardino: the lead guitarist and the main composer of Rata Blanca is always the star (what did you expect?), In this album he throws a big bunch of metallic riffs and shredding solos, especially in songs like "Sombra Inerte del Amor", "Obsesión" and "Máquina".

Gustavo Rowek (drums): for me, this guy made his best performance in this album (correct me if I am wrong), with his classic double-bass drum (particularly on "Jerusalén", you can hear the double-bass from beginning to the end), mixed with some good techniques.

Sergio Berdichevsky (2nd. guitar): here the shadow of Giardino can be more appreciated, he makes a good work too, throwing base riffs and power chords.

Guillermo Sánchez (bass): the bass work in Rata Blanca is always the same, making the base notes or following the guitars or the double-bass parts, without place for an improvisation. Decent, but not impressive.

Mario Ian (vocals): this heavy metal singer may not have a melodic voice like Barilari (it's similar to Blaze Bayley when he was on Maiden), but anyway he makes a decent performance, and fits well with Giardino's musical proposal.

Javier Retamozo (keyboards): he was somehow the "victim" in this album. Due to Giardino's desires (more heavy guitars pulled to the front and less keyboars), his instrument is the least heard here, covered up by the guitars.

Conclusion: I enjoy listening to this album from time to time, but honestly, I can't recommend it to anyone. If you like the classic Rata Blanca or you know them for their most well-known songs, you might hate this record. But if you're looking for a good heavy metal album in Spanish, perhaps you might give it a try.