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Oh, there’s a lot going on here. Where to begin? So, there are some acoustic instruments played by Damian Anache and he also makes sounds “generated with his mouth” - it’s kinda like throat singing, or just someone saying “aah” for the dentist. There’s also a computer playing an algorithm of sonic sound. So ye, Capturas del unico camino certainly has a lot going on but it’s a subtle and soothing album of great depth.

An box-set limited to 150 with CD, art-prints and musical score.  

CD £15.99

Ltd deluxe edition CD on Concepto Cero + Inkilino Records. Edition of 150 numbered copies in box with art cards.

Sold out.



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REVIEWS

Capturas del Unico Camino by Damian Anache
1 review. Write a review for us »
8/10 Laurie 05 March 2015

When a musician starts talking about algorithms, there could not be more of a drastic divide in reaction. Those that get it light up with perverse joy, and those that don’t either claim that computers can’t make music, or just yell “NERD!” and give you a wedgie. Never expose a surf-rock band to maths.

Argentinian sound sculptor Damian Anache has either never met any surf bands or is on a post-wedgie rampage to fill the world with his noises in defiance of their fusty old ways. He built a software system to take his sonic input and alter it in some way, rearranging the material from voice, piano, guitar and glockenspiel into stretched-out impressionist pieces. I wish I could be more specific because this is really fascinating, but the accompanying booklet is in Spanish, so being a worldshy Brit has once again failed me.

For experimental music it’s quite coherent, primarily featuring tonal acoustic instruments, albeit altered by his personal cyber-Frankenstein. The alterations are most effective on his chantlike vocals - they move from familiar and human to something quite alien and synthetic in one breath. These form the centrepiece for track 2, which ends up sounding like a Gregorian chant in a haunted house. Each sound is more or less isolated, without much layering, becoming an ornament to be appreciated on its own, which may not be to everyone’s taste but it’s certainly relaxing. Some more abrasive synth experiments take hold on the 3rd track, but still exercise subtlety, before splashy water recordings enter the sound field on the final piece. These layer up nicely, but don’t show off the skills of the algorithm much. It just feels like bathtime.


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