////Review Written In Spanish Comes First, Followed By The English Translation////
Tiro de Gracia had had its beginnings with the members being inspired to enter the world of Chilean Hip Hop at a young age. At that time, the breakdance and underground rap scene were in a very basic state, waiting to flourish and expand abysmally, but had already had the initial shot with De Kiruza's “Algo Está Pasando”, the first rap song composed in Chile, creating awareness in the collective mind of many young people of the time, both showing that unique way of expressing themselves freely with music, as well as the fact that the social environment of the time was unfair and cruel. Over time, and as with any musical genre that is having an obvious relevance, the great albums that would become classics would come to be provided by youthful and creative groups that had their charisma emanating at every moment, accompanied by an origin humble in which what mattered was to create music rather than to become an imminent success, and there is no doubt that Tiro de Gracia became one of those groups, with its origins being a sample of what they would come to do with their first official studio productions.
In the beginning, Tiro de Gracia was nothing more than a project by Juan Sativo and Lenwa Dura started without even them having finished high school. They were accompanied by Explicito, a companion who would come before the inclusion of Zaturno, and by DJ Raff, the person who during those early years was in charge of providing the beats for the group's songs. Eventually, what had started out as live performances began to encourage members to try and record their songs in order to distribute them and become more popular. This led to the appearance of two cassettes filled with the band's demos. The first of these was Arma Calibrada, in which the great characteristics of this period could be seen, condensed in a great way in a collection of songs that did not exceed thirty minutes in length.
What could be seen was Tiro de Gracia on their rawest state, much more expressive about political and social issues, with instrumental beats that were nothing more than loops of existing songs from the band's influences; but showing enormous talent and potential in all those regards, with powerful interactions between Sativo and Lenwa. A collection of songs that kept a very enjoyable and consistent project, but that was affected by the inconsistent and poor sound quality due to being recorded on cheap double cassette radios, which overshadowed many characteristics of the songs. In the same way, there was a contrast in how the lyric was performed with the live songs, which showed a less serious group, being more charismatic and loose. Eventually Tiro de Gracia would give another attempt to make a demo with demos in the form of Homosapiens, released shortly after Arma Calibrada in 1994.
Homosapiens would show a Tiro de Gracia much closer to what would be seen in Ser Humano a few years later, since the main characteristic of this cassette is that all the elements of Arma Calibrada are improved on very evident ways. The main thing was the sound quality that surrounded all the songs, something that was not perfect, still being recorded on a cheap tape deck, but which maintained a consistent quality throughout the duration of the project. The intonation tone of the members was much looser, similar to the renditions they offered live, more relaxed and charismatic. Explicito, instead of disappearing into the mix, has a much more noticeable presence. Other than that, the bases themselves were more elaborate. These were not simple loops, the scratching and use of samples in transitions (things that would increase in the future) gave a much more elaborate air to DJ Raff's instrumental beats. Sure, the lyrics were still raw, charged with politics and a youthful and explicit social conscience, but the way of presenting these topics was what gave life to these tracks, and it is something that can be felt from beginning to end.
Apart from all that, the songs are much more enjoyable and easy to appreciate, with a clean and polished production being the only essential that would be needed. But despite being home demos, they are still things with a lot of substance, and the first song, Aqui Estoy Nuevamente, is the one that best condenses all the main elements of the demo as it is a fascinating way to start the project. With a Juan Sativo taking the lead on the subject with a precise and accelerated execution, being supported by a powerful Lenwa Dura and an Explicito highlighting some lines to make the rhymes more remarkable. The lyrics are fluid, well constructed, with a message at each moment, and each new segment making a very natural use of metaphors, analogies, and observations of the environment, helping to highlight the points in an understandable way, and with a much more acting performance. how nice. The interaction between Sativo and Lenwa is what pushes everything forward, having an effect that works very well throughout the entire song. The DJ Raff beat is much more elaborate (making use of scratch near the end), with the use of loops being something that is better employed, making a rhythm in which everyone seems to fit intuitively. If I had a better final mix, not being greatly affected by cassette quality and without those technical limitations, this would be an excellent track. But even so, in its natural state, it remains one of the best songs of this era for the group; but the rest of the songs are not far behind.
Once the first song is finished, a dialogue sample is used as a transition to Cero Grosero, one of the songs from this era that are remembered by fans, and for good reason. The charisma and potential in all aspects is felt again here, with a rhythm marked by a notable bass, generating a catchy, short, and well executed song. Controlando Tu Mente presents the rap skills of the members without using a base in order to execute it in a good way. After this, Gran Demencia and Negativa Resolucion return to present what had been seen, in a better or worse way, but maintaining the fact that they are consistent themes in what they offer (with well-established bases, a very good interaction between the members, and moments to be less serious, adopting a youthful attitude and full of charisma in the surrender of some lines, and even showing of the few times in which Explicito was noticed as part of Tiro de Gracia). Salven Su Pellejo is a much more relaxed song, working as a good rest and transition towards the last part of the demo (being almost like a primitive version of what would be Interpolación on their first album). Without wasting time, the last part of the project begins with Tiroteo, one of the most loaded themes of Tiro de Gracia's entire career, which does not need a very long duration to denounce the police abuse that occurred in a Chile of the 90s (being very reminiscent of what De Kiruza had done a few years ago), with some of the most direct and raw lines the group has ever created in their career. Finally, an unnamed track closes the demo, being a contrast to the tone of the previous song, being something much less serious and more humorous and immature, but still a lovely way to finish the project.
The jump in consistency and quality that Tiro De Gracia had made from Arma Calibrada to Homosapiens in the same year is certainly fascinating. And that youthful and "full of potential" feeling that this second collection of demos gives off throughout its duration is not for any simple reason. Watching videos of this period of the band gives an idea of the potential and the attitude that would push the group forward. The potential of the group was much easier to appreciate in this demo, being conclusive proof of why the group was recognized in the underground scene of that time. It is far from perfect, with a sound quality that leaves too much to be desired, even if you consider that they are simple demos from a group that still seems to want to find their own identity. However, that is no excuse to ignore this project (just Aquí Estoy Nuevamente is enough to listen to the whole cassette, which only lasts twenty-five minutes). From the use of samples and loops in a much more creative way, the charismatic and loaded lyrics that were presented, and the way of rapping of all the members; Homosapiens showed enormous potential on the part of Tiro de Gracia, a potential that they would reach in the not too distant future. After the release of these two cassettes, and the slow but notable rise of Tiro de Gracia within Chilean rap, Expícito decided to retire to pursue his studies, while Sativo and Lenwa would leave their studies to pursue their dream of dedicating themselves to their music. And although bigger things would eventually arrive, that doesn't detract from how enjoyable and well executed these demos turns out to be, making it something that definitely deserves to be appreciated for what it encapsulated of the original spirit of Tiro de Gracia.
Overall Rating: 7/10
Tiro de Gracia había tenido sus
inicios con los miembros siendo inspirados a entrar al mundo del Hip Hop
chileno a una edad temprana. Por aquel entonces la escena del break dance y el
rap underground estaban en un estado muy básico, esperando a florecer y
expandirse de manera abismal, pero ya había tenido el disparo inicial con “Algo
Está Pasando”, la primera canción de rap compuesta en Chile por parte del grupo
De Kiruza, llegando a crear consciencia en la mente colectiva de multitud de
jóvenes de la época, tanto de mostrar aquella manera única de expresarse
libremente con la música, como el hecho que el entorno social de la época era
uno injusto y muy cruel. Con el tiempo, y como con todo género musical que anda
teniendo una relevancia evidente, los grandes discos que irían a convertirse en
clásicos llegarían a ser provistos por parte de grupos juveniles y creativos
que tenían su carisma emanando a cada momento, acompañado de un origen humilde
en el cual lo que importaba era crear música más que llegar a ser un éxito inminente,
y no cabe duda que Tiro de Gracia llego a ser uno de esos importantes, con sus orígenes
siendo una muestra de lo que llegarían a hacer con sus primeras producciones
oficiales de estudio.
En un inicio, Tiro de Gracia no era
más que un proyecto de Juan Sativo y Lenwa Dura iniciado sin siquiera ellos
habiendo terminado la secundaria. Se encontraban acompañados por Explicito,
acompañante que vendría antes de la inclusión de Zaturno, y por DJ Raff, la
persona que durante aquellos primeros años se encargaba de proveer las bases
para las canciones del grupo. Eventualmente, lo que había empezado como
actuaciones en vivo empezaba a incentivar a los miembros a intentar grabar sus
canciones con tal de distribuirlas y hacerse más conocidos. Esto llevó a la
aparición de dos maquetas en forma de cassette llenas de demos propios de la
banda. El primero de las mismas era Arma Calibrada, en la cual se podían ver
las grandes características de este periodo condensada de excelente manera en
una colección de canciones que no superaba los treinta minutos de duración.
Un Tiro de Gracia crudo, mucho más
expresivo acerca de temas políticos y sociales, con bases instrumentales que no
eran otra cosa que loops de canciones existentes de las influencias de la
banda; pero mostrando un talento y potencial enormes en ese sentido, con unas
interacciones potentes entre Sativo y Lenwa. Una colección de temas que mantenía
un proyecto muy disfrutable y consistente, pero demasiado afectado por la
inconsistente y pobre calidad de sonido debido a ser grabados por radios
baratas de doble casetera, que opacaba muchas características en las canciones.
De igual manera, había un contraste en cómo se actuaba la lírica con los temas
en vivo, que mostraban a un grupo menos serio, siendo más carismático y suelto.
Eventualmente Tiro de Gracia daría otro intento a realizar una maqueta con demos
en la forma de Homosapiens, lanzado poco tiempo después de Arma Calibrada en
1994.
Homosapiens mostraría un Tiro de
Gracia mucho más aproximado a lo que se vería en Ser Humano pocos años después,
ya que la principal característica de este cassette es que todos los elementos
de Arma Calibrada son mejorados de una manera demasiado evidente. Lo principal
recaía en la calidad del sonido que rodeaba a todas las canciones, algo que no
era perfecto, que aun resultaba haber sido grabado en una casetera barata, pero
que mantenía una calidad consistente en toda la duración del proyecto. El tono
de entonación de los miembros era mucho más suelto, parecido a las rendiciones
que ofrecían en vivo, más relajado y carismático. Explicito, en vez que
desaparecer en la mezcla, tiene una presencia mucho más notable a comparación
de Arma Calibrada. Aparte de eso, las bases en sí estaban más elaboradas. No se
trataban de simples loop, el scratching y uso de samples en transiciones (cosas
que incrementarían en un futuro) daban un aire mucho más elaborado a las bases
instrumentales de DJ Raff. Claro, la lírica seguía siendo cruda, cargada de
política y una conciencia social juvenil y explícita, pero la manera de
presentar estos tópicos era lo que daba vida a estos temas, y es algo que se
puede sentir de principio a final.
Aparte de todo eso, los temas son
mucho más disfrutables y fáciles de apreciar, siendo una producción limpia y
pulida lo único esencial que haría falta. Pero a pesar de ser demos caseros,
siguen siendo cosas con mucha substancia, y la primera canción, Aquí Estoy
Nuevamente, es la que mejor condensa todos los elementos principales de la
maqueta al ser una manera fascinante de empezar el proyecto. Con un Juan Sativo
tomando la delantera en el tema con una ejecución precisa y acelerada, siendo
apoyado por un potente Lenwa Dura y un Explicito resaltando algunas líneas para
hacer las rimas más notables. La lírica es fluida, bien construida, con un
mensaje a cada momento, y cada nuevo segmento haciendo un uso muy natural de
metáforas, analogías, y observaciones del entorno, ayudando a resaltar los
puntos de una manera entendible, y con una actuación mucho más que agradable. La
interacción entre Sativo y Lenwa es lo que empuja todo hacia adelante, teniendo
un efecto que funciona muy bien a través de toda la canción. La base de DJ Raff
es mucho más elaborada (haciendo uso de scratch casi al final), con el uso de
loops siendo algo que es mejor empleado, haciendo un ritmo en el cual todos
parecen adaptarse de manera intuitiva. De tener una mejor mezcla final, no
siendo muy afectada por la calidad de cassette y sin aquellas limitaciones
técnicas, este sería un tema excelente. Pero, aun así, en su estado natural,
sigue siendo uno de los mejores temas de esta era del grupo; pero el resto de
canciones no se quedan atrás.
Una vez acabado el primer tema, un sample
de dialogo es usado como transición a Cero Grosero, uno de los temas de esta
época que son recordados por fans, y por buenos motivos. El carisma y potencial
en todos los aspectos se vuelve a sentir acá, con un ritmo marcado por un bajo
notable, generando un tema pegajoso, corto, y bien ejecutado. Controlando Tu
Mente presenta las habilidades de rap de los miembros sin necesidad de utilizar
una base con tal de ejecutarlo de buena manera. Luego de esto, Gran Demencia y
Negativa Resolución vuelven a presentar lo que se había visto, de mejor o peor
manera, pero manteniendo el hecho que son temas consistentes en lo que ofrecen
(con bases bien realizadas, una interacción muy buena entre los integrantes, y
momentos para estar menos serios, adoptando una actitud juvenil y llena de
carisma en la rendición de algunas líneas, e incluso mostrando de las pocas
veces en las que Explicito se hacía notar como parte de Tiro de Gracia). Salven
Su Pellejo es un tema mucho más relajado, funcionando como un buen descanso y
transición hacia la última parte de la maqueta (siendo casi como una versión primigenia
de lo que sería Interpolación en su primer disco). Sin perder tiempo, la última
parte del proyecto empieza con Tiroteo, uno de los temas más cargados de toda
la carrera de Tiro de Gracia, que no necesita una duración muy larga para
denunciar el abuso policial que ocurría en un Chile de los 90 (siendo muy
reminiscente de lo que había hecho De Kiruza unos años atras), con algunas de
las líneas más directas y crudas que el grupo habría llegado a crear en su
carrera. Finalmente, un tema sin nombre cierra la maqueta, siendo un contraste
al tono de la canción anterior, siendo algo mucho menos serio y más humorístico
e inmaduro, pero igual siendo una manera encantadora de terminar el proyecto.
Llega a ser fascinante el salto en
consistencia y calidad que Tiro De Gracia había llegado a hacer de Arma
Calibrada a Homosapiens, y todo eso en el mismo año. Y es que el sentimiento
juvenil y potencial que esta segunda colección de demos desprende a lo largo de
toda su duración no es por ningún simple motivo. Ver videos de la época da
una idea del potencial y la actitud que empujaría al grupo adelante. El
potencial del grupo era muchísimo más fácil de apreciar en esta maqueta, siendo
prueba contundente del porqué el grupo era reconocido en la escena underground
de ese entonces. Es lejos de ser perfecto, con una calidad de sonido que deja
demasiado que desear, incluso si se considera que son simples demos de un grupo
que todavía parece querer buscar su identidad propia. Sin embargo, aquello no
es excusa para ignorar este proyecto (tan solo Aquí Estoy Nuevamente es
suficiente para escuchar todo el cassette, que tan solo dura veinticinco
minutos). Desde el uso de samples y loops de una manera mucho más creativa, la
letra carismática y cargada que se presentaba, y la manera de rapear de todos
los integrantes; Homosapiens mostraba un potencial enorme por parte de Tiro de
Gracia, potencial que llegarían a alcanzar en un futuro no muy lejano. Luego de
la salida de estos dos cassettes, y el lento, pero notable, ascenso de Tiro de
Gracia dentro del rap chileno, Explícito decidió retirarse para dedicarse a sus
estudios, mientras que Sativo y Lenwa dejarían sus estudios para perseguir su
sueño de dedicarse a la música. Y aunque cosas más grandes llegarían
eventualmente, eso no desmerita lo disfrutable y bien llevado que resulta ser
esta maqueta, haciéndolo algo que definitivamente merece ser apreciado por lo
que encapsulaba del espíritu original de Tiro de Gracia.
English Review
In the beginning, Tiro de Gracia was nothing more than a project by Juan Sativo and Lenwa Dura started without even them having finished high school. They were accompanied by Explicito, a companion who would come before the inclusion of Zaturno, and by DJ Raff, the person who during those early years was in charge of providing the beats for the group's songs. Eventually, what had started out as live performances began to encourage members to try and record their songs in order to distribute them and become more popular. This led to the appearance of two cassettes filled with the band's demos. The first of these was Arma Calibrada, in which the great characteristics of this period could be seen, condensed in a great way in a collection of songs that did not exceed thirty minutes in length.
What could be seen was Tiro de Gracia on their rawest state, much more expressive about political and social issues, with instrumental beats that were nothing more than loops of existing songs from the band's influences; but showing enormous talent and potential in all those regards, with powerful interactions between Sativo and Lenwa. A collection of songs that kept a very enjoyable and consistent project, but that was affected by the inconsistent and poor sound quality due to being recorded on cheap double cassette radios, which overshadowed many characteristics of the songs. In the same way, there was a contrast in how the lyric was performed with the live songs, which showed a less serious group, being more charismatic and loose. Eventually Tiro de Gracia would give another attempt to make a demo with demos in the form of Homosapiens, released shortly after Arma Calibrada in 1994.
Homosapiens would show a Tiro de Gracia much closer to what would be seen in Ser Humano a few years later, since the main characteristic of this cassette is that all the elements of Arma Calibrada are improved on very evident ways. The main thing was the sound quality that surrounded all the songs, something that was not perfect, still being recorded on a cheap tape deck, but which maintained a consistent quality throughout the duration of the project. The intonation tone of the members was much looser, similar to the renditions they offered live, more relaxed and charismatic. Explicito, instead of disappearing into the mix, has a much more noticeable presence. Other than that, the bases themselves were more elaborate. These were not simple loops, the scratching and use of samples in transitions (things that would increase in the future) gave a much more elaborate air to DJ Raff's instrumental beats. Sure, the lyrics were still raw, charged with politics and a youthful and explicit social conscience, but the way of presenting these topics was what gave life to these tracks, and it is something that can be felt from beginning to end.
Apart from all that, the songs are much more enjoyable and easy to appreciate, with a clean and polished production being the only essential that would be needed. But despite being home demos, they are still things with a lot of substance, and the first song, Aqui Estoy Nuevamente, is the one that best condenses all the main elements of the demo as it is a fascinating way to start the project. With a Juan Sativo taking the lead on the subject with a precise and accelerated execution, being supported by a powerful Lenwa Dura and an Explicito highlighting some lines to make the rhymes more remarkable. The lyrics are fluid, well constructed, with a message at each moment, and each new segment making a very natural use of metaphors, analogies, and observations of the environment, helping to highlight the points in an understandable way, and with a much more acting performance. how nice. The interaction between Sativo and Lenwa is what pushes everything forward, having an effect that works very well throughout the entire song. The DJ Raff beat is much more elaborate (making use of scratch near the end), with the use of loops being something that is better employed, making a rhythm in which everyone seems to fit intuitively. If I had a better final mix, not being greatly affected by cassette quality and without those technical limitations, this would be an excellent track. But even so, in its natural state, it remains one of the best songs of this era for the group; but the rest of the songs are not far behind.
Once the first song is finished, a dialogue sample is used as a transition to Cero Grosero, one of the songs from this era that are remembered by fans, and for good reason. The charisma and potential in all aspects is felt again here, with a rhythm marked by a notable bass, generating a catchy, short, and well executed song. Controlando Tu Mente presents the rap skills of the members without using a base in order to execute it in a good way. After this, Gran Demencia and Negativa Resolucion return to present what had been seen, in a better or worse way, but maintaining the fact that they are consistent themes in what they offer (with well-established bases, a very good interaction between the members, and moments to be less serious, adopting a youthful attitude and full of charisma in the surrender of some lines, and even showing of the few times in which Explicito was noticed as part of Tiro de Gracia). Salven Su Pellejo is a much more relaxed song, working as a good rest and transition towards the last part of the demo (being almost like a primitive version of what would be Interpolación on their first album). Without wasting time, the last part of the project begins with Tiroteo, one of the most loaded themes of Tiro de Gracia's entire career, which does not need a very long duration to denounce the police abuse that occurred in a Chile of the 90s (being very reminiscent of what De Kiruza had done a few years ago), with some of the most direct and raw lines the group has ever created in their career. Finally, an unnamed track closes the demo, being a contrast to the tone of the previous song, being something much less serious and more humorous and immature, but still a lovely way to finish the project.
The jump in consistency and quality that Tiro De Gracia had made from Arma Calibrada to Homosapiens in the same year is certainly fascinating. And that youthful and "full of potential" feeling that this second collection of demos gives off throughout its duration is not for any simple reason. Watching videos of this period of the band gives an idea of the potential and the attitude that would push the group forward. The potential of the group was much easier to appreciate in this demo, being conclusive proof of why the group was recognized in the underground scene of that time. It is far from perfect, with a sound quality that leaves too much to be desired, even if you consider that they are simple demos from a group that still seems to want to find their own identity. However, that is no excuse to ignore this project (just Aquí Estoy Nuevamente is enough to listen to the whole cassette, which only lasts twenty-five minutes). From the use of samples and loops in a much more creative way, the charismatic and loaded lyrics that were presented, and the way of rapping of all the members; Homosapiens showed enormous potential on the part of Tiro de Gracia, a potential that they would reach in the not too distant future. After the release of these two cassettes, and the slow but notable rise of Tiro de Gracia within Chilean rap, Expícito decided to retire to pursue his studies, while Sativo and Lenwa would leave their studies to pursue their dream of dedicating themselves to their music. And although bigger things would eventually arrive, that doesn't detract from how enjoyable and well executed these demos turns out to be, making it something that definitely deserves to be appreciated for what it encapsulated of the original spirit of Tiro de Gracia.
Overall Rating: 7/10
Favorite Track: Aquí Estoy Nuevamente
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