The Myrrors
Hasta La Victoria

THE REVIEW

Unfortunately, or perhaps fortunately, it's always like this, a myrrorian adventure begins every·fantastic·time like an already begun desert procession; Hasta La Victoria hails from 2017 and approaches like a hook on the inherent path; the gear changes, but not the philosophy, the ensemble leaves behind many electric instruments like excessive ballast for the pilgrimage; flutes, tambura, violins, and bouzouki are among the many present and soar under the sun in the percussive layers that act as a curved metronome, with a rendering of their identities sometimes indistinguishable due to the unusual movements given to the instruments; the sounds are as innumerable as the rhythms, while the cover’s color is the color of the music, and the warmth emerges from below, a direct seedling of the penultimate Entranced Earth; similar to the previous one, the narrative is almost exclusive to instrumentals; circular music, evocative, psychedelia that enjoys modern productions, and even if now and then it allows itself to stretch out the ideas a tad too much, it is—for me at least—forgiven; along the album, some mirages I seem to have experienced concern Indian, Latin, and Native music, all immersed in the usual krautrock that reigns in every myrrors' record imprint; rock plays no small part as the band’s origin, but here it appears to me merely an abstract idea.

Organ Mantra pulls the cart as only these worthy musicians know how;

Tea House Music exemplifies how the percussive accompaniments, the winds, and chordophones maneuver through the sand of these sinusoidal dunes;

Hasta la Victoria can explicitly indicate that they will not stop, but given how the listening falters in this lengthy conclusion, it really seems so;

Anyway, more delightful applause and another dive-retrievable discobolo.

LP