Six asymmetric studies plays with different elements without sounding overwhelming or aimless; it is an excellent demonstration of the balance that different genres can find together living under the same roof.
There are three ways to approach musical fusion and two of them are incorrect. Pairing opposites, or elements that naturally repel each other, simply to sound ironic or “weird” just for the sake of being weird, ranks as the biggest offense of them all (Pedro Tirado, we’re looking at you). Stacking different genres without some coherent connection may not be as offensive, but it lacks personality; it’s just a matter of learning the basics of different styles and then play them one after another.
These two approaches are the easiest to find among the musical spectrum and, although the intention of wanting to offer something different -in most cases- is appreciated, nothing compares to the feeling of running into a project that truly achieves the oh-so-coveted state of fusion: taking elements from different genres in order to combine them (not only stack them), giving life to something completely new. If this is nit the case, it will at least make the listener question how much a genre can be deformed until it is no longer recognizable, or what exactly is the essence of a particular style. Anyone can take a chord and play it skank style to embed their songs with a reggae feel, but the genre cannot be reduced to how one strums the guitar.
Six Asymmetrical Studies is an excellent demonstration of the balance that different musical styles can achieve while living under the same roof, without having to sacrifice their individual essence or ending up sounding like a collage. The electronic and synthetic textures flutter freely around organic, stringed instruments, and thanks to this balance, the album does not feel totally inclined towards electronic music nor totally rooted in classical or jazz, but creates a universe within itself, one where its creators know how to use the right amount of ingredients so that the final result cannot be pigeonholed so easily.
Humberto (guitars, electronics) and Mike (double bass, electronics) feed off each other on each of the tracks: for every dubious, incorporeal texture, there are familiar sounds emitted by guitars and double bass (played in the traditional way and with a bow); for each legato or walking bass line that could be getting too close to a specific genre, the electronic beats and loops come in to counter that sense of familiarity.
The LP starts gently, taking its time to fully materialize. A sonic structure is gradually built thanks to a sequence that repeats with urgency, and by the time the bass plays its first notes, we’re already immersed in its peculiar atmosphere. The way in which the double bass makes its way through all the electronic layers and minimalist beats can make Studies appear to be a nu-jazz work heavily influenced by bands like Skalpel; however, it would only be one of the many phases this LP explores. There are nods to avant-garde and non-idiomatic improvisation ("Study II"), as well as glitchy, ambient passages, and tinges of early post-rock.
Another achievement this album has going on, lies in its paradoxical nature. It is a window to the golden era of labels like Ninja Tune or Rune Grammofon, but it does not evoke nostalgia nor a sense of deja vu. It plays with different elements without sounding overwhelming or aimless. It is minimalist but is full of details. It has a fixed course, and although the final destination may not seem familiar, it makes you feel at home.
"Study V" is the only piece where one style has more presence than the other. It is a track with an undeniable lounge sound, and although it cannot be considered a weak spot, it is easy to make comparisons to the work of Tor Lundvall. The bass’ contribution is limited to the same repetitive line, and its variations are buried under the dense layers created by the electronic components, sacrificing a bit of personality.
The closing track ends the album with a guitar ostinato that slowly becomes drenched in overdrive, static, ominous legatos and frightening drones made by the double bass; the instrument sounds so clear, that you can feel each thread of the bow falling apart as it scraps the gargantuan strings of the heavy instrument. Unlike "Study V", this cut makes it clear that the best moments of Studies happen when the duo uses all its resources to bring a song to life.
Despite the balance achieved by the duo, this work is far from being completely unique. One shouldn’t look too far and consider Mabe Fratti’s body of work, which also dwells in similar aesthetics, mixing classical instrumentation with modern elements to create hybrid pieces, aural chimeras, that resonate with rumble and sensibility. However, the elegance of its execution, its fine attention to detail and the depth each piece has thanks to the meticulous production, make Studies have everything that is necessary to become a benchmark of Mexican experimental music. It truly is the gestation of a new classic.
KEEP DIGGING:
Braulio Lam
Long Exposure
