This is a six part sonic study that perhaps asks the question - Is there anything that isn't music?
Víctor Sequí has assembled woodwinds, clangs, whirs, howls and what might be called mechanica and unleashed
and unraveled them before our ears.
Parte Primera starts with burbling, building up like quilts upon quilts of pots, pans and cries. Eventually a parade of babbling, delirious chamber singers is sneaking up from behind then fades, giving way to a thumb piano-like commentary that recedes into silence.
Parte Segunda starts with a kind of massively downtuned bass riff that heralds a howling. The howling is accompanied by auxiliary percussion and eventually goes up an octave. The rhythms and repetitions relate somewhat to tribal music. As if a pygmy got from the sky - a laptop with a bunch of samples and sequencing software. The gods must be groovy.
Parte Tercera slows down. A post free jazz chorale for woodwinds and feedback atop a waterbed of smoky and ethereal synth chords.
Parte Cuarta picks up the pace a little bit. A seemingly atonal ostinato throughout the piece is given a loungy jazzy reharmonizational treatment. I think the question poised at the beggining is most plainly answered here. That every sound can be said to exist within a tonal and sometimes chordal framework.
Parte Quinta recapitulates previous themes with added variation. There is a momentarily ravel-like clarinet melody against an ominous long tone bass line. Ravel very quickly morphs into Ornette Coleman.
Parte Sexta is the closing finale. Gently hammered bell tones are preceded by an industrial sounding distortion riff. I'm usually used to hearing synth xylophone emulations in counterpoint with some other ambient sounds. So here is a less tried combination. Kind of heavy metal meets light metal. It's a surprising ending to a great experimental series.

Max Go