David Velez: location recordings, composition
I don’t recall having heard Velez’s music before this, a CD that was spinning on and off in my player last autumn, then remained disregarded for a while and now has finally been retrieved for an unequivocal appraisal. Not surprisingly, when looking at the composer’s website, a past collaboration with Christopher McFall was noticed; this doesn’t mean that Sonido Descompuesto sounds like one of the American’s records, however akin principles linking the two artists seem to exist, in spite of a different conceptualization of the respective field recordings. In this particular case, the audible phenomena derive entirely from a Colombian farm and include a little bit of everything that might be expected in a rural environment (though we’re occasionally forced to some kind of guessing game to understand if something is really “that” something). Without enumerating substances, living souls and objects – they’re all there to be acknowledged – let’s just say that the compositional attributes and the processing job are up to the indispensable standards for placing the disc in the “pleasurable” area of our aesthetic apparatus. An unspecific awareness of protective comfort, the healthy propensity to avert ludicrously mystic assertions, and the slight veil of instability attributed to selected chunks of material during the post-production stage contribute to deserved warm feelings towards the work.