On the tail of his 2015 oeuvre “Manuscript”, which we deemed “a far less jubilant outlook on the club experience than most of his peers’” and “music for packed dungeons and inhabited ruins”, Tomás deepens his dialectic for his 2016 outing, “La Muerte De Todo Lo Nuevo”.
In stark contrast with language of its title, it’s a far less Latin-inflected body of work than “Manuscript”. And in complete agreement with the concept of its title, it does indeed sound like “The Death Of All That Is New” – seemingly oxidizing the stainless steel of of-the-now club music in real time; seemingly demolishing its marble structures in slow motion.
The title track cheekily interpolates a haunting, bespoke variation on the “Alla Luce Del Giorno”/”Chase The Sun” melody atop plummeting percussive concretism, only to gradually unravel into beautiful plucked ostinato with cello accompaniment.
“Anatomía” exists at the odd, but serendipitous point of convergence between a hard, driving, clattering techno track, a sparse Hysterics-esque tool, and a Noah “40” Shebib beat.
“Distopía” begins as something you might hear in a Slipknot skit or hidden track, incrementally adds sparse, fleeting, fragile grime elements, and unceremoniously erupts into a furious volley of snares just as the background harmony reaches its most vulnerable and wistful. Asymmetry and counter-intuitive structure pervade the track – at first unnerving, this progressively subverts expectation and leaves the listener a blank slate, just in time for the finale’s barrage, leading to a touchingly human and intimate moment.
Lastly, “Incierto” is just that – uncertain; meandering as an artform; confusion executed with utmost precision.
On the remix tip, peers M.E.S.H., Ziúr and Ausschuss provide ersatz “alternate takes” to “Anatomía”, “Distopía” and, respectively, “Anatomía” yet again, conveying the synchronicity that suffuses and defines their loose collective.
released September 30, 2016
Artwork by DMNC
Mastered by Chris Daniels
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