Hurtmold
Mestro

THE REVIEW

An attitude that manages to break down the boundaries of musical genres and spills into a river of ideas; this could be a definition attributed to the term Post-Rock, or rather to the experience of certain artists like Tortoise or to the projects undertaken later by the members of Squirrel Bait, among them, Slint, Gastr Del Sol, and For Carnation. Hardcore school guitars that slow down and evolve, keeping pace with a flow as experimental as it is engaging, rage and meditation coexisting with sound.

The discography of the Brazilian band Hurtmold retraces a bit of this series of musical evolution of the late eighties and nineties Rock, supporting it with today's aesthetics, a sort of mediation of what is defined as Post-Rock before and after. "Mestro" is quite a different album compared to the previous two "Et Cetera" and "Cozido," which presented a decidedly more instinctive sound, halfway between the geometric Noise of Polvo and Hella, less violent than Don Caballero and with vocal references close to the "Fugazian" song. The "Jazz-like" trend especially in the percussion and the electronic component is much more accentuated in this record, the bass lines almost obsessively resembling a Trip-Hop track, the Sound, unlike the references in previous works, is more akin to the early Tortoise and For Carnation, where there are moments in which the rhythms that confirm the Paulista origin of the members emerge ("Quase de 6 Misticismo") and soundscapes where it feels like looking at the night sky from a metropolis ("Sova"), with echoes of Bark Psychosis.

For those looking for something that still presents the creativity of the past with these stylistic coordinates, know that in this São Paulo band they will unexpectedly find the right answer.