Pandan-Lagl “Teatro Del Absurdo” (p)2023 Repetidor

Pandan-Lagl are José Carlos Peña, Cristina Arroyo (both of El Relevo Alemán) and multiple drum machines. The new effort wears all the hallmarks of José Carlos’ modus operandi on its sleeves, that includes angular guitars and introspective vocals typical for post-hardcore and 2nd wave emo. Additionally, it’s Codeine and Bedhead who probably influenced the slower tracks "El Tratado De Versailles" and "El Sol Se Pone En El Somme". The mixture of post-hardcore, sadcore and programmed drums sounds pretty fresh and even danceable at times ("Los Modernos"). The album as a whole sounds in line with all the previous JC Peña’s efforts (Estoikov, El Relevo Aleman, Tremolino) - and simultaneously it looks like a new chapter, or the plot twist.    

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Tuya “Proxy” (p)2023 El Rayo Verde

I've got so much respect bordered on adoration to David T. Ginzo’s “A War Is Coming” which is placed high in my shortlist of go-to albums, so it’s obvious that I expected much from his new effort “Proxy”. And… What I got is not what I expected. While “A War Is Coming” sounded handmade, “Proxy” sounds too professional. In fact, the difference between these two albums is like the difference between an arthouse movie and a high-budget blockbuster. There’s no problem, globally. Creative growth mixed with outstanding technical skills – who the heck would call it a problem? Besides, there are still some great songs here (“Ball Under The Car”, “Anthony”, “Friendly Fire”). But the rest of the album (especially “The Coup In My Eyes” and “Bretton Woods”) would perfectly fit for the playlist between the festival sets of Grimes and Arca – and it’s only bad news for me as at any festival I wouldn’t attend a show of either.

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Lepora "Zulotik" (p)2023 Bonberenea Ekintzak

Days ago the Basque DIY post-hardcore mainstays Lisabö announced their sixth longplay set for release for 12/01/2023. Those news made me wonder if I could find something to brighten up my day in the meantime, and after quite superficial study I've found this: a 20 minutes long jazz-oriented post-hardcore album sung entirely in euskera.

Along with some obvious comparisons to aforementioned Lisabö whose helmsman Carlos Osinaga produced this record, there is also strong resemblance to Midwest emo - especially to the bands that used time signatures like it was their playground (in other words, more Cap'n Jazz and Faraquet than Benton Falls or The Get Up Kids). The early screamo influence is palpable as well. The first two tracks ("Ez Dago Inor", "Zulotik") I like the most as they're the most fierce and uncompromised ones here. 

Punk/hardcore itself is something of a commonplace in the music landscape of Basque Country but Lepora can easily be singled out of their peers as evidenced by this abrasive yet memorable mini album.

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¡Vamos Hostias! - 2

The modern day festivals are more about socializing and less about music. So you may make a plan but you have to take it easy when your plan appears to go wrong. The Fiesta de Bienvenida offered us 10 names to perform on two stages situated side by side. Such the environmental organization ensured minimal lags between the performances and, more important, minimal movements for the audience. Twenty steps to the left, twenty steps to the right - and you have visited both the stages. A major improvement, without a doubt.

Out of the ten names mentioned, only three attracted my attention: Jimena Amarillo, a non-binary urban artist whose latest album I like; the band 30s40s50s fronted by Operación Triunfo alum Beli Basarte, and revived Delafe Y Las Flores Azules.

Unfortunately, the aim to see them all was never achieved. When we came to recinto ferial (main festival location) 30s40s50s were leaving the stage. The performance of Jimena Amarillo was long gone. But the colourful and energetic show of Delafe Y Las Flores Azules erased all the traces of regret caused by our late arrival. 

Oscar and Helena were in their top form presenting the pack of their top songs. The sunshine-electro-avant-hip-hop band was accompanied onstage by a tiny brass section whose members wholly participated in the main protagonists’ activities like cross-stage dancing etc. This was the event enormously lighthearted, uplifting and pure.

Why I started this entry with the “more about socializing” line? That’s because right after Helena & Oscar danced their bodies offstage we abandoned the music of the rest of the night and dove headfirst into socializing. In the old town of Aranda we had a late dinner with a bottle of wine and then came to Café Central for dancing. I do believe this was way more entertaining for us personally than the shows of urban performers Dillom and Cupido at recinto.

Somehow we ended up more introduced to communication at the expense of music this year. The music is important but the friends are more important, and we met so many friends those days!

¡Vamos Hostias! - 1

August 9, in the afternoon. The Fiat 500X built-in navigator guides us further along the A-1 / E-5 interstate but we turn to Milagros via exit number 146.

It’s a tradition. This is how we pay tribute to the place where our historia ribereña once began. In 2013, before returning to the airport, we were sitting on the bank of the Riaza River beholding how the whole village of Milagros gathered on the opposite bank of the river for cooking the giant paella - and wept because we thought it would never happen again for us.

But somehow it happened 8 times more. Most of them we accommodate in Kinedomus Bienestar rural hotel. There is no better place than Kinedomus for the post-gig relaxation. It’s 3 km from Aranda opposite to the festival area. You arrive at the hotel at half past 3 am with buzzing ears – and you are surrounded by an endless, thick, almost palpable silence. The crickets is the only sound you can hear.

Some neutral assessment: despite the enormous heatwave that splashed upon the central regions of Spain this year, Sonorama had a huge influx of visitors. I have never seen so many people here, and not only me - it was noted by everyone we spoke to. The organizers’ policy to promote the festival amongst the younger audience is working apparently. Our beloved friend Gloria’s son once said: "I will not go with you cos it’s all dad music". So Gloria grabbed a short video once a day to show him the prevalence of all those young faces in the crowd. 30% of the line-up are urbanites and trappers - what kind of "dad music" it could be?

Ten years ago it was possible to come to Aranda’s historic cluster at 12:00 and go right to the security fence in front of the Plaza del Trigo stage to behold three concerts in a row plus one secret show staying there in the first line. Oh, good old times. Now it is impossible: you should arrive at least half an hour earlier to proceed to the first line, so we don’t even try to. The neighboring Plaza la Sal does not bear the same cult significance, no one fights for the opportunity to be in the first line there - and it fits us perfectly. Moreover, there are always some really interesting young bands performing there. The perfect choice for broadening your horizons.

¡Vamos Hostias! - 0

This report was originally supposed to be called "La Última Aventura" ("The Last Adventure"), or "La Gira De Despedida" ("The Farewell Tour"). It’s not that in the process of completing the report the hope grew up on me that everything would get better in the near future - but I hardly feel despondent or melancholic, so now I would like to make the title more uplifting. Neither English translation of the word "hostia" comes any close to adequate, so you are free to place anything you like instead of it. "Let's go, bitches!" or "Let's go, cool kids!" – you name it.

GAF Y La Estrella De La Muerte "Pyramids" (p)2023 Foehn/ Keroxen/ Discrepant

They did it again. "The Canarian combo just released an album that bears little resemblance to their previous releases" - the phrase that can be attributed to every Gaf's album. The band never showed any trace of desire to be placed into a certain genre or category or scene but it's apparent that with each subsequent release they try to "try harder" on that way. Every album is a step - or a jump - aside. 

First, "Pyramids" is mostly electronic. At least, its first half.

Second, it's 100% instrumental. Carolina doesn't sing, Mladen doesn't sing. No one says a word.

"Pyramids" was recorded in El Tanque (the former petrol tank 50 m in diameter and 18 m in height converted into art space) during 3 day long improvisational sessions. 

It's two LP album but it contains only 7 tracks. Three are two synth-laden tracks ("Pyramids 1", "Pyramids 4"), a bass-driven kraut piece ("Pyramids 2"), an atonal jazz piece with leading trumpet ("Pyramids 3"), two meaty post-rocky tracks ("Reptylian", "Speed Of Darkness") and a space rock elegy ("Wormhole 74"). Structurally they are sequenced to make the whole picture evolve constantly like a spoonful of mercury splashed onto the surface. Album starts from tiny synth musings, then it grows up to guitar-fueled storm and finally calms down descending slowly to serenity and peace. That's the main course but there are multiple pitch roll and yaw corrections on the way.

Summed up, it's not so mindwrenching as "Garden Island" (the album by GAF's another avatar GAF And The Love Supreme Arkestra recorded in the similar circumstances) but it's still an adventurous experience. The listener's discretion is advised.

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DOM "Warm" (p)2023 self-released

The first word that comes to mind upon listening to the new release of Domingo Aleman's "household" solo project DOM is 'visceral'. You can almost see how this music pours out of Domingo's body in its own intuitive way. How it paves its way through his skin pores. How it streams through his fingers short-circuiting the guitar strings. How it's pulsating within the drumkit (yes I know the drums are programmed but I'm not speaking of what I know, I'm only speaking of how it feels). 

The tracks are quite repetitive and it's the case when repetition transforms into captivity. That's why the longest tracks are the best here (for me personnally I'd prefer this to be glued together into one 40 minutes long piece without pauses between the tracks). As long as Domingo is not your conventional songwriter with the songs built up on some basic four chord sequences there is no standard verse-chorus structure to be found on this album. So the music just flows around to envelope you with its vibe and to move you to another place full of tribal rhythm, offbeat synths and fluid desert rock guitars.

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