Basically a collection of the tracks left recorded since the group’s inception, with only a few added touches in a Buenos Aires’ studio, the self-titled album revealed a carefuly crafted instrumental music, very unique while at the same time so dear of the duo’s biggest influences. Here and there a melody bereft of Rubber Soul arises and briefly dilutes, giving space to volume pedal crescendos, mellancholicaly-laden ambient, with barely dilluted tango hues and atmospheres akin to The Blue Niles’ nocturnal electro-pop, resulting in one of the most intriguing albums to come from Argentina in 1995. By 1997 the band relocated to Germany, and one year later their sophomore record was released, the aptly titled Metalambiente. The recharged ambient of Metalambiente shows Nuñez’s renovated skills for guitar metalscapes which blended wonderfully well with Jankowski’s gift for canvas design and the guest appearances by many of the cream of the Buenos Aires under-scene, most importantly by Alain Courtis from the legendary band “Reynols”, who also named the album. The songs are a bit more obscure this time, often incorporating Fourth World electro rhythms and even some folksy fingerpicking from Núñez’s acoustic guitar.
Ambient is also featured here through a mix of Middle-Eastern sounds as seen through the lens of Holger Czukay, depicting the beauties of unseen, utopian worlds. All in all, a beautiful album and one of the most innovative releases to came from Argentina during the late nineties. Nowadays, since the band has been collaborating in plenty of projects together, it’s fitting to expect a brand new release from this supremely interesting duo. Read more on Last.fm.
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