[SET-UP]
To any curious parties,
take note: if the CIA
Worldfactbook is to serve as any indicator of the current state
of “reality,” then Egypt's primary industry is indeed textiles.
Appropriate, the north African country's top Agricultural product is
cotton.
Not that these trivial bits serve any purpose, specific
or otherwise, but if nothing else it sets the mood.
Mysterious to a certain
degree, yes. I will agree that at best what we have so far is a
non-sequitur; at worst the beginning of a downward spiral into
meaninglessness. Cryptic would work too, but I for one have a stated
fear of any foreign objects inhabiting the space in or around my
nose. Lost? Allow me one moment as I ask you to think pyramids and
recollections of schoolhouse history lessons. Pharaohs and their
death are a prevalent and exciting topic in this field, and with it
comes the removal
of brain matter. Memories are fresher than royal neurons firing
warning shots. Ambiguous is perpetually a better selection to cryptic
in the realm of describing the indescribable.
So where does this
leave us (other than lost)? Raw and wandering; searching and seeking;
longing for a superior path. Enter Algodon Egipcio: neither Egyptian
nor cotton1.
The work attributed to a man known in certain social circles as
Ezequiel Bertho leaves a listener with a sense of confusion not
unlike the a reader's following the first two paragraphs.
Disorientation mixed with a failure to distinguish anything definite
results in glorious muddling. How is this meant to be listened to?
What could this have been born of? What is the purpose?
Feelings most commonly attributed to jigsaw puzzles,
sure. Alas, this is music; the pleasure is in the whole picture. A
process of sharpening the image...of cotton. No small task. A
necessary mission, however, since this is not the first time Algodon
Egipcio has affronted me.
My initial exposure to
Bertho's music was the first track on NRMAL's2
excellent Norte
Sonoro EP released by last year (and previously reviewed briefly
here). “La espina
del Cardenche,” is by all means a manageably painful but intriguing
track. As a matter of fact, the introductory song is perhaps the most
riveting. Three minutes and fifty one seconds, twelve percent of this
extended play album, are inhabited by Algodon's contribution.
Acoustic guitar sonically cuts in and out, distant & strained
vocals which would seem more at home in a Smithsonian field recording
sings on, only to be met by what can the sound of two independent
tracks competing for space. The challenge is both infuriating and
off-putting; ever the more emphasized by being prominently displayed
first among the ranks of Toy Selectah, Helado Negro, and Chancha Via
Circuito.
Who...does this is this
guy, think he is?3
[REVIEW]
This records was listened to twice before the writing of
this review.
La Lucha Constante (The Constant Fight) seems at
first to be a genre trap. As “El Dia Previo” begins to play it is
evident that this music is passive but delightfully busy. An electronic introduction
meets indie guitar at the intersection of being hip. Elements of
shoegaze immediately stand upright, being stably held up by vocals that float effortlessly through the air. But could this just as well be
dream pop? The overall sound is akin to that of a hot-air
balloon floating over Humboldt. Come to think of it, the ambiance is
set by auditory incense covering up an elusive skunky smell. At least
it can be deduced that this is base-level post-rock; the use of a
traditional rock elements with a stated purpose of creating un-rock
music. Lying on the cusp of the Ohio-Kentucky border, flirting with
math-rock and morning jackets it suddenly becomes clear that labels are of
no help.
But what of comparison? Two routes will be paved, feel
free to select the most appealing.
Road one has been trekked tirelessly; surroundings that
influence people to re-create what is known. Hailing from the
Bolivarian republic of Venezuela, it is easy to separate the politics
of a certain selection of elites from the artistic nuances of
completely separate individuals. Why though? The most prevalent feature in the
personality Venezuela for the last decade or so has been politics.
Egalitarian principles in a modern world of identity.
One thing which Algodon Egipcio excels at is taking
sounds and incorporating them for his own use. “El Ingenio Humano”
comfortably borrows from elements of industrial as a song of
controlled chaos reveals itself. Just as easily “Los Parpados
Caidos” eases Latin beats into an indie rock fold. Classic artistic
recycling: using supposedly finished products and reinventing them in
a new light. Superiority of one style over another is entirely a state of mind. In this way the music is very equitable. All music is good, so
to make good music why not use as much music as possible4?
The sounds are never forced, as even spaghetti western-like reverb
makes an appearance in-betwixt the technological glory of coexisting
synthesizers.
A detour to the second route: Algodón Egipcio loves to
have fun with computers. No song is a better example of this than the
spectacular “La Repetición, La Repetición”. Guitar sounds are
neatly layered on top of one another and monitored by the gaze of a drum
machine. This is prior to a series of drastic changes. More than mere
tempo variations, the entire orientation of the song adapts to a new
environment just as the two minute mark hits. Suddenly, and without warning, the seventh
track is an electronic dance party hosted by a relaxed guitar; not before another abrupt change towards happy power and back
to a 2/4 beat.
Within the nature of the song is the alternative: as
opposed to contemporaries, Algodón Egipcio is not predictable and
blissfully unaware of fitting into any mold. Yet calling this music
an experimental does not sit right. The nonchalant vibe given
off by doting bass and a sweet melody among the lyrics "Corran
la voz / La espera acabo / Ya esta qui / Ya llego / Abran paso a la
evolucion" (Spread the word / The wait is over / It is already
here / It has arrived / Open way for evolution) give the impression
that the artist simply wishes to create a better version of what
already exists in his own vision.
“La transformación” is a noticeable example of an
extremely well written pop song. A fresh transformation; “El Escapismo”
pushes the boundaries into the possibility of tonal pop. Both these tasks require the utmost cognizance of whichever musical vehicle is being altered.
While the vocal looping on “La Condición (La Prueba A)” and the
identity crisis of “Los Asuntos Pendientes (La Prueba B)” may
recall a revolution where seven ate nine or Krauts rocking out with
their bratwurst out, it does not matter. Perhaps the intention is to
perpetually avoid being properly identified, which is cause enough
for a pleasant return.
Jonathan Cohen is a
recovering college radio DJ,discover-er of Jimmy Hoffa Tourettes, and
once lauded expert on shrubbery. You can follow him on Twitter
through the handle @BoggleUrNoggle
1
Nor an undead mummy, but equally as captivating
2The
a being surprisingly relevant.
3Jerry
Seinfeld voice
4According
to its needs, no less
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