Releases that range from okay to magnificent (at least to our ears).

Margaritas Podridas - Margaritas Podridas

Margaritas Podridas is part of the current trend in the Mexican indie circuit that blatantly takes from 90s aesthetics (especially shoegaze and dream-pop), and do so to the point of coming off as a parody. Musically, the Sonora-hailing group doesn’t have any hallmarks, but there’s certain rawness and dirtiness to their sound, and therein lies their charm; even if it’s just the result of youthful edginess, it creates an interesting reaction, though it doesn’t happen that often.

Unfortunately, this is one of those albums that lose momentum as they progress. The only highlight comes with "Margaritas", a track that could be a blueprint for the band to build something sharper and stronger. The vocal work on this song should be noted, as it veers away from the typical ethereal softness (a trend imposed by similar female-fronted bands) opting instead for a raspy and dissonant delivery in a medium-low register —it feels more riot grrrl than shoegaze, and that’s a good thing.

Margaritas Podridas is still a young band, which means that their learning curve is reaching its peak. Perhaps if they focused more on giving their music a more personal touch instead of just emulating the look and sound of a specific era, they could deliver something more substantial. For the moment, what they deliver works, although it is fairly evident that there’s a raw potential waiting to be explored.

SCORE: 5.3

Jugendwerkhof - Marternarretei

The German duo unleashes four untamed sonic beasts that hiss, growl, and violently move without any regard for what they might destroy in their wake. The elements used in this torture session may result quite familiar to more than one listener, but at no point does the experience become monotonous. The chaos conjured by Jugendwerkhof has the same effect as standing on the edge of a waterfall (if instead of water, pieces of rusty metal were falling from it): it is mesmerizing, intimidating, dangerous, and majestic at the same time.

We may not have a great variety of textures, but Jugendwerkhof know how to make their pieces progress and advance without feeling predictable, and despite the randomness very inherent to noise music, they also do not feel like meandering and aimless exercises —there’s a very intense climax at the end of the third track that serves as proof.

The last cut may be the most nuanced (as nuanced as harsh noise can be), as it takes its time to fully show its teeth, and its evolution is actually somewhat tamer compared to the previous pieces; it even has a serene ending, giving the album a somewhat paradoxical closure. Going from an abrupt and noisy beginning, the gentleness we find on the album’s last seconds, feels like a much needed rest.

SCORE: 7.3

Clandestine Blaze - Secrets of Laceration

After the immense work that was Tranquility of Death (2018), this one-man project returns with more of its harsh sound. Though the attack may be slower, it is by no means, soft. The aggressiveness remains as strong as ever, and the riffs continue to draw complex lines whose vibrations are broken by a nefarious fuzz. Although it could be taken as a continuation of Tranquility, this does not imply that both works are interchangeable with each other; there are noticeable differences, but the more melodic parts could well have had their genesis in the previous album’s mellower passages.

From the opening riff, Clandestine Blaze blackens the atmosphere, going from thick chords to dissonant arpeggios, and from mid-tempo to violent blast beats. The vocals have the unmistakeable dense cadence -an almost spoken, almost sung growl- a hallmark of Clandestine Blaze’s sound. As always, the guitar work is the backbone keeping everything afoot, and this may be the most nuanced performance to date. "Stripe in the Sediment" is one of the best songs in the band's catalog, due to its fluctuations between atmospheric restrained playing and a visceral, raw energy.

Secrets of Laceration is not a radical change in sound, but that has never been the goal. Clandestine Blaze has always valued fidelity to a certain sound and abhors trendy appropriations that exist only to fit within an industry that celebrates image above everything else. In this sense, the Finnish project is one of the main flag-bearers who choose to preserve black metal in its natural state, rather than to spoil it with unnecessary adulterations.

SCORE: 7.5

Espen Lund - ÆTONAL

Espen Lund borrows from Sunn O)))'s monolithic trademark, but only relies on a lonely trumpet (and a bulky amp setup) to shake the ground beneath us. Driven by feedback and long-sustained notes, ÆTONAL creates an impenetrable aural wall that progressively surrounds us in a suffocating electric cataclysm.

Naturally, due to the trumpet’s different sonic and physical properties, the tones achieved are not as thick as they might be on a guitar-driven drone metal album. However, far from being an issue, this helps prevent ÆTONAL from being a run-of-the-mill drone album; the static caused by the distortion and high volume has a sharper tone, and the feedback accumulates in a more chaotic and messy way. What we end up with is a piercing but thunderous blast that lingers for a long time, before moving into a different note.

ÆTONAL never gets too overwhelming or monotonous, but, in general, the sonic explorations by Espen Lund do not take us to unknown directions. However, this does not detract from the impact it leaves after the first listen. The magnitude of this work is undeniable and although its elements may be too familiar, its strength leaves an echo that will resonate for quite some time.

SCORE: 7.5

Wilder González Agreda - Patrocinado por el Gobierno

Wilder González's work has never been digestible nor complacent. This has been a conscious decision since, from the beginning of his career, he has always maintained that psychedelia and advanced electronica have to be approached with a disruptive attitude in order to create a truly challenging and mind-expanding experience for the audience.

Being the recipient of a grant provided by the Peruvian government for artists who were financially affected by the pandemic, Wilder got to work and the result was a labyrinthian set of synthetic sounds that leave irregular-shaped grooves as they move with no aparent direction.

More than a musical album, Patrocinado por el Gobierno is an ode to how sound behaves when it is allowed to depart from the norm, breaking away from the conventions of formal musical language. Different frequencies and textures move from one side to another, sometimes colliding, sometimes harmonizing, and, as a whole can remind us of those aural experiments in the hands of pioneers like Maryanne Amacher or Henri Pousseur.

From start to finish, we are invaded by the constant sensation of being pulled down into a fractal pattern, or as if we suddenly had the gift of kaleidoscopic vision; Patrocinado is expansive, abstract, and difficult to approach. Due to its impenetrable nature, it can either be seen as over-indulgent or as a genius; nonetheless, personal preferences aside, this is the effect that psychedelia should have, even if that implies that Wilder’s work will not always be for everyone... and that’s okay.

SCORE: 7.7

Tine Surel Lange - Works for Listening 1-10

For her debut album, the composer and sound artist Tine Surel presents us with the first ten pieces -of a series whose volume number is still pending- that are intended to modify our listening habits when it comes to everyday situations and objects. Field recordings, timbral alterations and object manipulation may be the usual elements for this type of practice, but Lange's sound confections are actually quite immersive.

It is probably already a cliché of our reviews to mention the tangible and visual quality of various ambient and sound art works, but Tine provides an experience that really feels multidimensional: having been recorded under the ambisonics format, Works for Listening has depth, volume with every texture being augmented to the smallest detail, putting them on the same level as everything else surrounding them.

The pieces in which we can appreciate the wind blowing ("Roof Work I, II and III") are full of frequencies that go from low to high, -which is not always captured in other works- and the tracks that use water as the main instrument ("Metal and Water", "Water and Stone," Immersed "," Muorjegarggu ") accentuate certain nuances that are usually not perceptible in a piece by your average ambient artist. "Wires" paints an entangled scene, which justifies its 10-minute duration thanks to its hypnotic repetitive movement revealing different tones as it progresses.

However, this level of clarity comes with its drawbacks: Unless you have a very sophisticated hi-fi equipment -or headphones with above-average quality- the charms of Works for Listening may go unnoticed by most. But if the intention is to modify our listening habits, the limitations of a modest equipment could give us that much-needed boost.

SCORE: 8

V/A - Terrario

After a period of uncertainty and inactivity, the young Peruvian label releases this compilation, with which they intend to show us their most endearing and delicate side. This is a calm and hopeful listening and its sense of unity and camaraderie gives it a lot of strength; it is easy to imagine a setting in which each musician listens carefuly and respectfully waits for their turn while the others perform their pieces.

Despite showcasing different artists, there is a common thread that runs through each track: An inclination towards post-rock in its different variants, but with the scale leaning towards the genre’s first wave, due to the use of guitars to create textures and loops that blend in with the electronic confections that surround them. Kevin Salkeld breaks away from this dynamic a bit by giving the instrument a more or less traditional use, with a piece that could have been a few minutes shorter, but that reveals nuances within its dissonant and melancholic arpeggios that are quite enthralling.

Marcelo Mellado moves away from the guitars and presents us with a smooth loop that throughout 13 minutes creating a sense of expectation that is never resolved; but this is not a point against, this effect works because it feels like a lullaby or the prelude to the more energetic part of the compilation. Just as they did with the first album under their belt, 1049 presents a sampler that works as an introduction to the excellent work being carried out in Peru.

SCORE: 8

Fiorella16 - Narraciones Retorcidas

The Peruvian guitarist, José María Málaga, is one of those artists who manage to create their own sound even when their influences can be easily identified. Everything, from production to the sound design, is meticulously put together so that the result can be as close as possible to feeling entirely unique; Narraciones Retorcidas leaves a mark on this idiosyncratic catalog in the same way a ghost leaves its presence in a photograph.

Although the elements remain the same (Málaga’s processed guitar and objects), Narraciones is far from being just another album. Fiorella16's work is endowed with a bizarre quality, deforming emotions as they pass through his strings and circuitry, and its lo-fi quality gives it a magical realism: what we hear is raw yet it feels alien to this plane. Narraciones Retorcidas has strange sounds, familiar sounds, and provides an eerie experience overall.

The album is completely ethereal, except for "Tres tipos de sopor", where we can perceive a faint, distant pulse, or in "I shall be late", where a gloomy loop is mixed with choruses that fade in and out with a haunting presence.

Málaga has always known how to truly combine genres, and even if his usual ingredients (drone, noise, shoegaze) aren’t that disparate, the fusion achieved creates something distinctive. There are bursts of noise, passages where you can make out wispy arpeggios that wouldn't be out of place in a dream-pop piece, but it doesn't feel like a simple stylistic pastiche.

The way the voice is used is also quite varied. Even when it sounds guttural and aggressive, it feels more as an expression of anguish or pain. It is this kind of range that gives the album complexity and depth, making Narraciones Retorcidas an important stop when going through Fiorella16’s career.

SCORE: 8.2

Intersystems - #4

The surprise release by this Canadian project -who played a key part in the development of electronic and experimental music- comes after five decades since their last album, and although it pretty much follows the same formula (voices orbiting around modulations, white noise, and other electronic textures), it doesn't feel redundant within the context of the group's catalog.

After Blake Parker’s death, who provided the spoken word parts, Intersystems rejected the idea of replacing him. Instead, being true to their innovative spirit, the group chose to devise a method that would allow Parker to continue being part of the project: his words are delivered via software; this is not that noticeable, since it actually sounds quite natural, except on those tracks where the computerized effect is intentionally obvious.

Unlike previous albums, where the words seemed to be cut-up, processed, and sampled in loops, pacing back and forth, #4 puts the vocals in a very prominent position in the mix and their delivery is more ooignant. Ironically, now that the voice is completely artificial, there is less fiddling, letting its message be heard. While the soundplay with the vocals may be missed, the synths reinforce the experience with the psychedelia emanating from their circuitry.

When a pioneering band decides to come back with new material after a long time of inactivity, it's hard not to feel a bit nervous. The expectation is usually very high and many times, creative stagnation and the desire to relive the moments of glory can make these comebacks feel forced. Fortunately, #4 is far from a project driven by nostalgia; what Intersystems presents is a worthy continuation of their important, but elusive, career.

SCORE: 8.2

s.nianio & >Ilkultan - Ільми-Велетні

The mysterious Ukrainian vocalist Svitlana Nianio returns with a rather modest album, without fanfare or pretense. Released via Soundcloud and only appearing on one YouTube channel, Ільми-Велетні continues that tradition of making everything Nianio crafts feel like a hidden treasure waiting to be unearthed.

Austerity and minimalism have always been inherent elements in Svitlana's music; everything feels intimate and stripped of unnecessary things. The duo, made up of Nianio and another equally enigmatic character (Sergii Khotiachuk) only use the voice, simple keyboards and some sound effects -the latter being very subtle but quite effective- making Ільми-Велетні feel dreamy and raw at the same time. The enveloping atmosphere is not the result of thousands of effects, but of a musical language loaded with an esoteric touch.

Svitlana's work also has this very latent dichotomy between the gentleness of its execution combined with an eerie delivery; a good point of reference would be the great and underrated Victorialand by Cocteau Twins, in that the tracks hold a sense of urgency despite not being overly dramatic, dark or even that obtuse. These are straightforward songs, but they come from a very idiosyncratic place. They hide something familiar and something alien that goes beyond their regional elements: This is not endemic music from Ukraine, but from Svitlana's inner world.

SCORE: 8.4