Автор: Argentum | 2 октября 2012 | Просмотров: 917Mp3
Artist: EUS Album: Los Otros Genre: Drone Ambient Origin: Costa Rica Quality info: mp3 320 kbps Size: 110 mb =============
1. Ells (03:17) 2. Mesé (06:45) 3. La Primera Piedra (08:59) 4. Fuera (02:38) 5. Postpérdida (04:27) 6. De Lejos (02:24) 7. Luz (02:04) 8. Estos Son Mis Ojos (04:54) 9. Diluria (10:29) 10. Los Otros (02:21)
'Ambient composers must wrestle with this question all the time: does their array of effects, software, and other processing methods add new characteristics to true sound? Or distill the impurities from it? Terms such as distortion, overdrive, even delay suggest the former, that sound manipulations take music at its essence and modify it, add to it or multiply it, for better or for worse. But terms like filter, equalizer, perhaps reverb suggest pretty much the opposite, that the unmanipulated source is dotted with imperfections and cannot achieve its real essence without adjustments. Fittingly, some of the most composite and unusual albums seem to represent music at its most uncontaminated. For any chefs in the room, think broth, not stew.
Los Otros — the forthcoming album by Costa Rica-based EUS — matches that description exactly. This is a savory and complicated broth, clear all the way through to the bowl, but only after tireless effort.
There’s no harm in admitting it: many of us first learned of Jose Acuña’s EUS project in December 2011, when Black Swan remixed the track El Camino. Admiring an artist means keeping an eye on his alliances, too, but Acuña’s only output in the nine months since have been a split tape and a three-way collaboration. This way Los Otros (“The Others”) is our first prolonged glance: 10 tracks, nearly 50 minutes of new material, gorgeous cover art, and only two pauses along the way. It has all the accoutrements of a masterpiece.
And the opening moments confirm it: “Ells” is an ill-lit place with rich, textured oscillations, a slow-running sample, some guitar horseplay, and a faint pulse. For all of its parallel lines it is brief, starkly minimal, and better described by what it is not. There are no sudden changes in mood or purpose, no incoming light, no single feature that draws unnecessary attention to itself. Acuña speaks without backtracking or stumbling on his words, because he knows exactly what he wants to say.
An early highlight is the lavish, nine-minute “La Primera Piedra” (“The First Rock”). The register, tempo and respiration have all gradually quickened, and here Acuña’s synthesized arrangement hums like life support. The expression ambient needs a prefix in this case, and since dark will not do, let’s agree on critical to keep moving. The disoriented, almost nightmarish “Postpérdida” (“Post-Loss,” maybe?) is the most orchestral of the opening half. Here Acuña reduces deafening, distorted guitar output to a whisper, clouding it with string panic, and the anxiety of nearly-forgotten piano. The composition has such a piercing glare, you’ll find it difficult not to look away. The scratching static and arcing tones of “De Lejos” (“From Far Off”) is a nice recovery, but the piano, string and drone assembly of “Luz” (“Light”) are downright noble in their restraightening. This is the most telling sign of Postpérdida’s gravity, that we need the following two tracks to regain our composure. But for those listeners preferring despair, don’t despair: the ten-minute howl of ambient guitar “Diluria” will provide.'