Album Review: Música Electroacústica – A Sonic Trip Through Time and Texture
If you’re into music that feels like it’s been beamed in from another dimension, Música Electroacústica by Various (released under Creel Pone in 2015) might just knock your socks off. This isn’t your run-of-the-mill electronic record—it's a deep dive into experimental soundscapes, blending Musique Concrète with raw Cuban creativity. The album is part of the "Time Jóvenes Compositores Cubanos" series, showcasing young Cuban composers flexing their sonic muscles. And let me tell ya, these tracks don’t mess around.
The first thing you notice? It’s not background music. Nope. This stuff demands attention, kinda like when someone whispers secrets directly into your brain. Two tracks stuck with me more than others: "El Otro Huevo De La Serpiente" and "Halley 86."
"El Otro Huevo De La Serpiente" kicks things off weirdly enough to make you go, “Wait…what?” Imagine layers of glitchy textures, metallic clangs, and eerie silences that feel heavier than actual noise. It’s unsettling but also kinda beautiful—like staring at an abstract painting that makes no sense until suddenly it does. You can almost picture the artists piecing this together late at night, fueled by coffee and wild ideas. There’s something about how the track builds tension without ever fully resolving it that keeps looping in my head. It’s haunting, yeah, but in a good way.
Then there’s "Halley 86," which hits different. Named after the comet, this one feels cosmic, as if you’re floating through space while random radio signals zap past your ears. The rhythm here is loose, almost playful, like the composers were having fun throwing random bleeps and bloops at each other. But don’t get it twisted—it’s still got depth. Around the halfway mark, everything drops out except for this low hum that vibrates in your chest. Feels like standing too close to a spaceship engine. I couldn’t stop replaying this bit because it’s so oddly satisfying.
Props to the team behind the scenes too—Photography by Pedro Pérez gives the cover art that mysterious vibe, while Producer Julio Roloff and Technicians Jerzy Belz and Juan Demosthene clearly knew what they were doing. They didn’t just slap sounds together; they crafted an experience.
What strikes me most about Música Electroacústica is how unapologetically niche it is. In a world obsessed with catchy hooks and TikTok-friendly beats, this album says, “Nah, we’re doing our own thing.” And honestly? That’s refreshing. Listening to it feels like stumbling across a hidden door in a crowded room. Sure, some parts are jarring, even frustrating, but isn’t that what makes art interesting?
Final thought: If aliens ever visit Earth and ask us to explain human creativity, I’d hand them this album. Not sure if they’d love it or vaporize us on the spot, though. Guess we’ll never know!
