Calexico
Spoke

THE REVIEW

Recorded in a month, at the end of 1995, 'Spoke' (it should mean "spoke," like the ones on wheels, but it can also be interpreted as a form of "to speak") is the first (and also the lesser-known) Calexico product (the rhythmic offshoot of Giant Sands), excluding a self-produced "tape" a few months earlier.

In less than 45 minutes, a total of 19 tracks are packed in: fragments, rather. Fragments of sound and experimental noise, fragments of ideas, fragments of what will become the musical manifesto of the duo from Tucson. Although a bunch of credited friends supported in various capacities, in fact, the album is entirely played by Burns and Convertino. The former, besides offering his (captivating) voice, maneuvers between guitars, basses, harmonicas, cellos, and mandolins; the latter is in charge of the rhythm section, not shying away from making notable appearances with the acoustics and, above all, showcasing an almost African mastery of the marimba, a sort of xylophone originating — indeed — from the black continent.

Fragments, as mentioned. Like those of noise, whose presence owes much to the (entirely homemade, almost lo-fi) production method: creaking doors that then slam shut with force, journey announcements snatched from a train station, tapes screeching and whining until they tear, languidly Renaissance music boxes. Musical fragments: early signs of desert sound(scapes) are especially noticeable in three compositions: Sanchez (undoubtedly the album's peak), Point Vicente (which opens with the delightful voice of a little girl who seems to be searching for something/someone), and Wash (where Morricone references become more evident).
Pop fragments: like that of Glimpse, where a guitar riff even brings to mind Get Back by the Beatles. Also like that of Slag. Pseudo-punk fragments: the intro of Scout almost frightens, with a couple of chords of powerful electricity that evoke a continuation à la Clash.

Fragments of European ethnicism, with a brief but essential Mazurka and the gypsy Mazurra. And finally, fragments of fragments. It’s minimalism that closes the album suggested by Removed (a ballad accompanied by Burns' whispers), Hitch (perhaps the roughest track on this "Spoke"), and Stinging Nettle, characterized by a long and sustained arpeggio.
Unfortunately, and fortunately, there are fragments that are just fragments, unambitious minutes marked by simple melodic lines, so thin as to almost go unnoticed (Haul, Spokes, the same Low Expectations).

A debut for the Arizona collective, rated 6.5 (I hate stars).