Pescado Rabioso ‎– Pescado 2 (1973)

Pescado 2 is the second album by Argentinian psych/folk/blues-rock band Pescado Rabioso, released in February 1973 on Microfón.

The album opens in fragmentation and drifts between short acoustic miniatures, distortion-laden improvisations, and controlled melodic arcs that flare and dissolve across a double LP. “Iniciado del alba” enters on slow, submerged percussion and narcotic guitar drift under phased vocals, stretching harmonic intervals into languid contours. Its companion “Poseído del alba” accelerates during the chorus but otherwise sustains the same half-lit density. “Como el viento voy a ver” cuts with sharper phrasing: the track opens on a rising riff and maintains a full-body push between tremoloed guitar, Hammond overlays, and extended call-and-response soloing.

“Viajero naciendo” uses piano figures to detour from expected direction, bending off into jagged improvisation that fractures the theme. “Nena boba” tightens around a staggered rhythmic pattern that wobbles beneath warped guitar inflections and a brief outburst of organ swirl. “Madre selva” suspends motion through bright keyboard pads that build into a layered peak, capped with a high-register solo that dissipates into silence.

“Peteribí” then destabilizes the center—its riffs spiral into feedback while piano and guitar push in opposite tonal planes, climaxing in unanchored distortion and flanged resonance. “Credulidad” counters that collapse with minimalist poise: arpeggiated acoustic figures under a restrained vocal that fractures only once, briefly, before pulling inward again. “¡Hola pequeño ser!” reopens the space for jam sections to collide, transition, and break down across multiple shifts.

“Sombra de la noche negra” locks into repetitive motion with clipped riffing and sharpened distortion, giving way to the acoustic finalé “Aguas claras de Olimpos,” which stages a phased ascent through voice, winds, and strings. Its long tail stretches toward stillness, refracting the album’s disparate elements into orchestral closure. Throughout, Cutaia’s Hammond and Lebón’s rhythmic grounding provide counterweight to Spinetta’s pivot from blues to atmospheric abstraction.

Tracklist:

A1. “Panadero ensoñado” (0:37)
A2. “Iniciado del alba” (3:09)
A3. “Poseído del alba” (3:42)
A4. “Como el viento voy a ver” (5:13)
A5. “Viajero naciendo” (2:56)
A6. “Mañana o pasado” (2:39)
B1. “Nena boba” (3:05)
B2. “Madre-selva” (7:45)
B3. “Peteribí” (7:36)
C1. “16” de peteribí” (0:15)
C2. “Señorita” (1:32)
C3. “Credulidad” (3:06)
C4. “¡Hola pequeño ser!!” (9:37)
C5. “Mi espíritu se fué” (4:27)
D1. “Sombra de la noche negra” (5:53)
D2. “La cereza del Zar” (1:43)
D3. “Corto” (1:40)
D4. “Cristálida” (8:45)