Saqqara Dogs
Thirst

THE REVIEW

Archaic ethnic music, alien in its ceremonial nature, yet so "fresh" in the millennial precipitation that teleports us inside the pyramid, above the Ziggurat, in the suspension of the Temple. There is sacred prayer, shamanic prayer, a pantheism of sounds that opens up magnetic visions of the past, defying the inquisition of monotheism from the barbarism of the era of religion.

The abstract folklore of atemporal digressions traces an amazing path in the unexpected unveiled by the music. It's as if one is simultaneously immersed in antediluvian moments as in a futuristic science fiction setting. The unimaginable meeting of the antipodes of eras illuminates an experience that transforms into dynamic devotion and does not nurture animic compensations because we are flooded by an absent pleasure, by an objective atmosphere.

The communication reflects old codes where we all feel the same involvement, finding ourselves swaying between the cracks of an impersonal suffering exorcised by electronic distortions that echo a reverberation of our afterlife.

The mechanism works great, with the added advantage of not being explicitly invasive in its psychic message. Seemingly smooth appears to be the unfolding of mythological cadences, but the proposed potpourri is constant in awakening past splendors.

But it is precisely here that the refinement of the compositions lies, in not directly revealing the aroma of the reunion with the plethora of our inner Gods. Intoning a future through transcendent rhythms marked by percussions beating directly on the history of our heart. And the cold warmth of the stings of reincarnations no longer feeds, with its detachment, unwanted guests but hovers in an aura of ritual surrender.

In a soundtrack of an indefinable historical era, the Saqqara Dogs open their deserts with cascades of water mirages that quench the absence of our shadow.