IM047 - Tomás Urquieta - La Muerte De Todo Lo Nuevo

by Tomás Urquieta

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Niccolo Brown
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Niccolo Brown For the last couple of years, most cutting edge electronic music has been the work of futurists expanding on the new possibilities offered by instrumental grime. Last year Jlin amongst others joined in by pushing back the boundaries of footwork and this year club music seems to have a disproportionately large number of producers lining up to stretch the distance to its horizon by as large a margin as possible. One such is Chilean Tomas Urquieta whose latest EP, to use a tonsorial metaphor, gives club's usual short back and sides a rainbow-coloured crisscross Mohican. To the casual listener "La Muerta De Todo Lo Nuevo" might sound like a lot of crashing, banging and walloping (they'd be right about the walloping: some of the drums are absolutely fucking IMMENSE) but like plenty of experimental club music, concentration on the apparently random carnage reveals strange grid patterns, diffuse melodies and buried treasure of all kinds that repay repeated listening. 'Dance' music this far out would have been unthinkable 5 years ago. An exciting new future is upon us just waiting to be explored and this EP is as fine a place as any to start. Favorite track: Anatomía.
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about

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.

credits

released September 30, 2016

Artwork by DMNC
Mastered by Chris Daniels

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