The Australian / Chilean dark-electronica duo Unknown Land are to release the EP Redline on the 25th.
In parallel with the reality of two musicians who live thousands of miles apart, communicating through the internet their music too has an spacious quality. The soundtrack mixes instrumentation and electronics delivering hypnotic dreamy soundscapes through which the mesmerising vocal slips in and out of focus.
The output, whilst having a dark layering running through it, also has a captivating beauty in which the listener becomes spell-bound.
With only a couple of tracks that I have been able to hear, I can only hope that Adolescentes Sin Edad create far more music in short order for a broader audience, as they have much to add to the weave of the tapestry of music creators.
The flat intonations give the material a beguiling come hither temptation discovering the listener drawing ever closer to the speakers as the hushed delivery whispers in to the ears with anticipatory tingles of temptation that run up and down the spine.
The Chilean psychedelic-jam quintet Al Borde del Cinismo released their début LP El Lenguaje del Inconciente on the 29th of March.
Al Borde del Cinismo
Sometimes it just helps to jump in to the morass and Al Borde del Cinismo are a group of musicians who have faith in each other as their music is created on an idea and no rehearsal merely improvisation and they merely ask the listener to do the same.
In a switch-back ride betwixt jazzy funk, psychedelic blues and merely leaving the room altogether the seventh of the dozen tracks Patrones Ascendentes discovers Al Borde del Cinismo in less sanguine moment of journey.
Contortions of spiralling thoughts are contained within this just under six and a half minute track as the band finds conflict of idea which they were still more than happy to share with their audience and for this I give them credit.
The preceding and following tracks of El Lenguaje del Inconciente find Al Borde del Cinismo in more reconciled moment with each other, however I enjoy this piece in particular as despite a lovers tiff occurring in the track one can still sense a fondness for each other.
It has been a while since the Chilean algorithmic-rock quartet La Triaca last released new material.
From their début eponymous LP, the second of the nine tracks Tarot emerged out of the ether a few days ago. One can only hope this precedes new musical ideas.
Confabulating astro-physics and logarithmic tables to deliver complex maths rock which lays on the ears in sheers of sliding granite. Each element making perfect sense, yet each played out of synch demanding the listener connect the pieces. The reward for the audience who stay to move the parts around the turntable is an ever more complex puzzle that results in a satiation of the mind when contextualised.
I raise my hat to La Triaca who don’t attempt to make the journey easy, though not make it a theological Escher, rather an attainable solution that the audience can solve if they are prepared to travel the distance.
The opening track of the dozen on the album, B o V breezes into the room in a sprightly rock ‘n’ roll footstep, to which Los Verdaderos Cabrera add South American flair leaving the listener imagining of horses trotting on the high-plains.
During its just over three and a half minutes duration B o V transitions between invitations to dance to a cinematic back-drop as a wurlitzer adds a sense of drama to the track, with the bridge heading off to a reminder of an early John Waters directors cut.