Striking, otherworldly, ghostly, evocatively cinematic and powerful experimental instrumentals by the band from Quito, Ecuador, this fourth LP is inspired by the work of Dune author George Herbert as well as the dark, dystopian events of modern times. Their genre is rich and stretches conventional definition as extraordinary sounds and riffs and passages blend and bleed into one another from up to a dozen musicians – jazz, psychedelia, avant-garde, modern classical, heavy rock, metal, krautrock, Arabic, Persian, desert rock, punk, electronica and Andean. It’s a restlessly mind-bending mix of improvisation and composition using mostly acoustic instruments ranging from piano, electric and acoustic guitar, brass, saxophones, flutes, drums, electronica, a variety of percussion instruments including tablas, the Cuban cajon and Andean bass drum, organs and synthesisers performed by Víctor Andrade, a collaboration with Ibarra's virtuoso Esteban Farinangom, and all led by the prominent acoustic and electric bass of Emilio Montenegro, who produces sounds which really give a rich flavour to all of this music. The seven medium to long tracks make for a full end-to-end experience, but standouts include Karama, Lisan Al Gaib, the beguiling bass power of Abominación, which also blends Arabic and western styles and anarchic brass, the spooky and intricate Hajra, and most of all, bleak and powerful Jihad, which comes with a striking video. Arresting, profound and quite extraordinary in places, very likely the most unusual and original album you’re likely to hear this month, or even this year. Out on Blowjob Records.
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