La Otra Cara De Un Jardin
Anoranza Del Hastio

THE REVIEW

"Anoranza Del Hastio". "Nostalgia Del Disgusto". In other words, the Avant-garde; the disintegration of sound: THE MENTAL DEVASTATION.

Practically impossible to find in physical format, of this anguished and disturbed 80s noise, self-produced on cassette and distributed to a few chosen ones by the deteriorated mind of Francisco Felipe, little or nothing is known. And, after all, the thing doesn’t even assume particular importance: it is enough to become aware of the cerebral paralysis that listening to this work can induce. Not ambient, not noise, not experimental, no drones or pads obsessively stuck on the lowest octave. None of that: only dismemberment and metamorphosis of pure sound, prolonged almost imperceptible processing. Disgust!

The trend is the noisy Spanish undergrowth, the audio-electronic art, kilos of industrial trinitrotoluene conceived by a handful of fools in their useless abodes. Vaguely defined harsh-terminal subjects who deal noise on pirate stations and very limited fanzines to a group of Spaniards of undoubted mental health. Highly sought-after tapes, today sold (for those who part with them) at very steep prices and/or collected meticulously in various online marketplaces by about a dozen diehards who share the recording-distribution tapes with the very support of the rightful owners of these tracks, forgotten over the years. Buried under who knows how many further distortions. 

Many works deserve consideration from this school, but the one reviewed here and its mosaics of noise leave one dumbfounded: a tragic, resigned sound, apparently noise without any logical sense, but actually a minimal-nihilistic abyss in which to get lost in its slow progression of psychedelic and narcotic electronic pieces. A kind of self-induced mental coma. And it is not an attempt to appear theatrical in a review of a record that probably no one knows. It is the effect of the inorganic chaos of tracks like "Ceremonial De Abando", "Niño Descubriendo A Su Hada Madrina En El Bondoir" or the triumphant “Melodia Para La Amada Lejana”. Deviant noise, synthetic monolithic weaves of korg, extremely heavy mood and dissonances ready to displace in their anxious and incessant untangling between LFO, twisted oscillations, and deep modulations. 

Such abstract-noisy hallucinatory-experimental mastery for a gloomy unique trip. If you appreciate noise in its purest form (zero rhythm, zero vocals, zero pads, zero drones, not a single shred of a musical note), here you are facing one of the most sick and fascinating works ever conceived by the human mind.