9.4

Leslie García and Rogelio Sosa join forces in a collaboration where both completely dissolve into sound, creating an immense album that feels alive and constantly evolving.

Two great forces come together to create a work of bestial proportions, but in which all its magnitude and power flow inward, with discretion, caution and great sensitivity. As is to be expected from artists of their status, Leslie García (Microhm, Interspecifics) and Rogelio Sosa deftly manipulate sound, making their textures feel almost habitable due to their depth and all the details that seem to emerge from it. However, Curvatura is far from being a kaleidoscope of sounds meandering aimlessly in all directions; its psychedelia turns to the introspective with its rumbling subharmonic pulses and opaque drones that seem to be coming out of an abyss, with just a few rays of light partially caressing them. Curvatura is dense and suffocating, but far from sounding ominous, it is rather suspenseful and intriguing. It is a mystery that becomes more and more indecipherable as it progresses, but in turn, it also becomes more and more magnetic.

The pieces feel alive and in a process of constant evolution thanks to the excellent transitions achieved by the duo. Perhaps unconsciously, perhaps premeditated, the essence of a conceptual thread lingers throughout: “Clouds” lives up to its name, opening the album as if a heavy fog were lifting, with slow movements and textures progressively sprouting until everything becomes a bit clearer —an effect achieved thanks to elements that go from a wet signal to dry, giving them a more defined contour. Similarly, “Delta” takes shape as it goes, transitioning from a vaporous texture, to a stabbing pace, to an ending returning to its original state. “Marea” keeps us afloat with its undulating cadence that seems to have no end (not only is it one of the longest tracks, but it is also the vastest). 

Leslie and Rogelio achieved something that is not always possible in collaborations: With the dedication that defines them, they managed to lose themselves and completely disappear into their creations, to the point of being unrecognizable. Yes, it is possible to infer who did what on some tracks (although there is no need to do so), but in general, both artists totally merged to the benefit of the pieces they were working on. No one imposed their style or tried to hog the spotlight and everything feels so organic because of this; nonetheless, it is important to highlight what this set of songs represents for each artist, as it elegantly showcases Rogelio’s versatility and reassures Leslie’s place at the top of a new wave of non-male electronic artists that are striving to push things forward.

Curvatura is an engulfing experience born out of a sense of unity, respect and collaboration, but that manages to leave enough blank spaces for the audience to fill them with their own interpretations. With sound being the only method of communicating their message, the duo doesn’t reveal too much, but it also doesn’t hold back as there’s just so many layers to peel and levels to advance within these wonderful soundscapes. It’s as if Leslie and Rogelio were inviting -or challenging- us to lose ourselves and dissolve into sound as much as they did in order to create this magnificent album.