Végtam Váltam fue, en realidad, un pequeño periodo de experimentación con la música minimalista de un grupo de personas indeterminado de mediados a finales del año 2007. Hubo algunas presentaciones en vivo del proyecto en la Ciudad de México y se grabaron algunas sesiones y trabajos, pero en realidad no existía el propósito de generar un EP, por lo que algunas de las pistas tienen mala calidad de audio, son grabaciones en vivo, ediciones o reconstrucciones posteriores al periodo de vida del proyecto.<p>
Algunos de los integrantes del protyecto fueron: Tlahuilcol Bernal, Eduardo Rodríguez, Enrique Lozano, Sandra López , Murphy, Bruno Pulido, Diego Madero, Nelson, Osacar Guillen, Carlos Pulio y Daniel Peña.<p>
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Fractal gently flows, tinkling its way into your ears. Gorgeous resonances abound. Like a meeting of left-handed campanologists, wherein there is structure to the apparent chaos. Nice track. 391, a very alluring percussive piece of creativity. Quite hypnotic, makes me think of Kodo. An impressively endearing track, with a very tight schedule of progression and development. Very enjoyable. Segunda Contrucción seems to continue structurally but with a different array of instrumentation, equally as pleasant and good listening. La China de la Mazorca, a sentence of seconds. Then, on to Grande, which is led by keys to the mysteries. Again, as in the first CD still an element of being charmingly off-kilter, though for some reason I am finding it more likeable this time round. Another brilliant track. So far some excellent interpretations of the minimalist genre. Finally, Kinética. Equal in length to the rest of the album and I am suitably expectant. It picks up and twists the end of the previous track and then turns into itself. Beautiful, open resonances and echoes, open but not particularly optimistic with its expanse of soundscaping. Then, neither melancholic, kind of indifferent with a sense of purposiveness. A wonderfully unique track in it's own right and magically tacked onto the end of an overall brilliant, and wonderfully unusual album of musical expression that deserves a just reward to be noted as being at the forefront of what is so special about adventurous creative experimentalism in terms of sound. Brilliant stuff, well worth a listen.
Primera Construcción rang well in my ears spaciously. 44 has a lovely rhythm and creates an impressive soundscape with only a few players on the pitch, so to speak, to the point of sheer chaos and back. The blending is a bit awkward in places, but also really works well in others, which is maybe intentional, descriptive of something I can only conjecture. However, we are talking experimental music, which can open a can of worms as it can a door.
Sowelú comes into being slowly, feeling at first very darkly ambient, almost an industrial sensation. After a plaintive flute solo, everything gets more dramatic, even harsh in places. Then things settle down for a while and the track wends its various ways. Interesting. Othila hangs onto a slightly off kilter rhythm and sews onto it in different ways strange pieces of cloth and sparkly buttons. Nice solo threads and subtle embroideries of sound and rhythm.
It carries through to Wunjo and turns into a strumming predominantly. Melody and rhythm start to build and become incorporated into the whole. This is minimalism stretched to the limits. It's more beneficial to experiment musically than with people's ability to hear. Having said that, there's a lot to be said for patience!
Dos Glenn arrives, distorted and impetuous. Once you become accustomed to the onslaught, you find a distinctly hypnotic stare glaring you in the cerebellum. Finally, and with a slight relief Reich, using predominantly piano, brings you back down to earth. Overall, not a particularly easy listen I suspect for some, if not blatantly intolerable, however, that is not to detract from the ability to create soundscapes, however bleak they may seem, they're still valid. It was an experiment, and it was an experience. Keep up the good work.