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Spanish screamo band Corea penned the lengthy tortures of Los Peores 7 km de mi Vida (2004), offering an innovative take on the genre with their many post-rock detours into abrasive noise and chaotic ambience.
The seven-minute
Cuando el Mar Pierde las Conchas open with torrential screams and guitar distortion but closes with acoustic guitar, speech fragments and assorted found sounds.
The seven-minute Interrupciones instead boasts more moderate screaming and riffing, more painful than furious, but then ends with a more visceral wall of noise.
La Muerte Fosiliza el Recuerdo el Grito Cristaliza la Agonia
opens with warped voices and atmospheric guitar interplay
but halfway it explodes in extremely violent punk fury.
The eleven-minute Ofelia starts out with crunchy southern-rock and metal riffs but then turns into a repetitive ambient instrumental with busy drumming and then implodes in a coda of sheer noise.
The eleven-minute Eterno en la Garganta del Tormento is even more directly influenced by Godspeed You Black Emperor and Mogwai with a lot of minimalist repetition a` la Glenn Branca in the first eight instrumental minutes before finally the screams return.
The nine-minute 7 km is musique concrete: an industrial drilling noise, glitchy debris, the distorted sample of a traditional song, the noise of an electrical circuit, more distorted speech, more shapeless noise.
Corea toned down their sound on the better produced
Quien Encuentra a la Madre Conoce a los Hijos (2006),
removing noise and simplifying song structures.
The result is shorter compositions and a closer resemblance with the post-rock canon.
They pen a more balanced song like Lo que esta' Quieto es Facil de Retener, and
Sin Forma no hay Deseo is unstable like a Slint piece, just more hysterical.
They often sound slightly psychedelic, especially in
the instrumental El Origen Devuelve la Calma but also in
Lo Rigido y Firme Pertenece a la Muerte, with a mesmerizing combination of
guitar, rhythm and wordless vocals.
The songs that are more easily identifiable as "screamo" are
the catastrophic closer Voy a Morir como Nunca Nadie ha Muerto Antes,
Las Trincheras del Ivan, an atmospheric crescendo in which the screams appear only at the end,
and
Porque todos Consideran Bello lo Bello, which opens with
piano and bluesy grandeur.
Definitely less devastating than its predecessor, but still an innovative fusion of post-rock and screamo.
(Copyright © 2021 Piero Scaruffi | Terms of use )
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