Garcia, Miguel A. – “Red River/Rio Tinto” – [Ghost and Son]
A few seconds of field recording start the album, and this, the first track, has the most of the percussion that appears on this album. As the sun shiny noise rock stretches out over nine tracks it takes you through, cone-wise, from many to more discrete noise, in a kind of noise collage much like a blender does to a variety of ingredients, all tracks ending early, and have silence in places within (false endings throughout all tracks), the blended noise going to rumble to bumpy noise (like speed bumps), static noise to distortion, clipping to frequency noise. The key ingredient is the semi-processed vocal work. The Spanish that appears in this is extremely funny, like getting your little sister on the mic to broadcast sound emergencies (4) as if it were a godzilla approaching, and to voice imaginative opinions on what the sound is or does. Very funny stuff, and hard to translate. Later (6), some words are distinguishable, and happen to be angry criticism made in a traditional style that is partially a religious standpoint, with well regarded Spanish explicatives such as, peludo (hairy), degrassado (mf-er), and para mierda (like shit). This is common cultural humor. The voicing is in quite well done childish inflections and cartoonish kiddy language. A cushion of noise both obscures some of the word content while supplementing the inflectional content quite well (3,6), reminding me of noisy tv reception of cartoons overdubbed in Spanish like Speed Racer. One gripe is that the screaming that appears in some of the tracks takes away from the humor of this work, I wish it were left for a different release. Track five has a little of something one might term a beat, that is thankfully absent from the other tracks. Guitar work like Skullflower. Percussion crisp and clear, sounding as if done on a stairway (5), or a stairway played like a piece of percussion.
-eveningly infinitely wipes
you heard it 14 times on kfjc! most recently:
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