(Copyright © 2012 Piero Scaruffi | Legal restrictions )

Vesprada (2009), 7.5/10
Chi'en (2009), 6.5/10
Sang (2013), 7/10

Qa'a, formed by Spanish multi-instrumentalist Victor Hurtado, debuted with Vesprada (Magia Roja, 2009), a bit fragmented and amateurish, but already pregnant with an impressive amount of intriguing ideas conceived and performed by a deviant intelligence. The alien pulsations and sparse noisescape of Perpetu (9:05) are pure abstraction until almost the end when they coalesce and swirl into a symphonic crescendo. That psychological subtlety is rarely achieved by the rest. Ancores (9:44) is more conventional loose acid jam a` la Grateful Dead's Dark Star. Unlike Desmadrados Soldados De Ventura, which is all energy and synergy, Qa'a prefers to investigate the least articulate layer of the subconscious. Vesprada (9:18) belongs to the category of austere, sophisticated, electroacoustic compositions, a study in colliding turbulence and drones, in juxtaposing and integrating ear-splitting dissonance and celestial order. Misteris De La Sang (17:14) in an intimidating kind of excursion into the psyche. At first, it materializes as free-jazz cacophony, all screeching and snorting; then as a crescendo, sustained by locomotive-like rhythm and Sonic Youth-esque guitar repetition; then as alien videogame-like signals; then as abstract dissonant soundpainting; then as a mysteriously droning saxophone fanfare. The album overflows with intuitions that are not fully developed, like a sketchbook for future projects: the subhuman dub/blues Speakerbox/ Mirror Said, the Red Crayola-esque freak-out Hungover Dub, the industrial vignette Fet D'os... Saxophone and synthesizer frequently upset the balance of traditional acid-rock instruments.

The mental breakdown became much more humane on Chi'en (Magia Roja, 2009), a collection of less noisy and better structured songs (and sung songs, not instrumentals). The main culprit is the quiet soft ballad Eastdown Westdown (8:00) with a rather conventional melodic and rhythmic crescendo, something that one would expect on a Pink Floyd album. The six songs are stretched over several minutes (up to 25), but their music carefully avoids the jarring and brainy (or simply anarchic) excesses of the first album. Speaker Box (15:42) borrows from jazz-rock shuffles, then embraces reggae overtones, then indulges in laid-back jamming, and only towards the end injects a bit of guitar effects (but always over steady drumming). The sleepy rhythms, languid chant and heroic guitar solo of Time Is Key (17:28), another homage at latter-day Pink Floyd, is redeemed by ten minutes of tense jamming that peaks with an incendiary freak-out and ends with a mooing drone. Luckily, Peeling Off (24:55) restores Qa'a to the realm of insanity with screaming saxes and pulsing electronics, followed by or buries under ten minutes of percussive orgy, then taken over by an army of evil dancing sci-fi synths. Unfortunately, parts of it sound redundant. It could have been edited down to 10 or 12 minutes. She Provides (10:08) is another glorious slab of space-rock gone astray, rapidly spinning out of control to become an unclimbable wall of noise and of screams (but, again, the last few minutes could even been edited out).

While it doesn't even come close to the brutal creativity of the first album, Sang (Magia Roja, 2013) has at least perfected the art of morphing bridging opposite extremes of sound Sang (8:24) grafts post-Hendrix guitar cacophony onto an electronic dub-funk trunk, and then forgets both to delve into otherworldly noise and thumping, and then opts for a coda of alien radio communications. Very little happens in Retorn Etern (9:52) over a pulsing beat, and one is ready to be lulled into a laid-back mood, but then the vocal effects, a rhythmic acceleration and some sitar-like droning enter a trancey dimension. A sort of transcendence (and a higher degree of it) is also achieved by Ascensio (10:36), a protracted percussive study. No t'Aturis Mai (7:46) works towards the same goal, although it substitutes the stereotypical Velvet Underground rhythm and a merciless crescendo of jarring guitar distortion for the mindless orgy of drumming. The spectral electroacoustic composition Eleccio en el Laberint (11:47) is the ideal soundtrack for a surrealist painting: metallic noise, tribal percussion, floating drones, random piano notes, dadaistic nonsense. The relaxed side of Qa'a stretches out in Vermell Profund (12:33). The shorter intermezzos are sometimes more extreme, notably the violently dissonant musique concrete of Mort a les Formigues, and the industrial-grade vomit of Rebenta't tos Agonica.

(Translation by/ Tradotto da xxx)

Se sei interessato a tradurre questo testo, contattami

(Copyright © 2012 Piero Scaruffi | Legal restrictions )
What is unique about this music database