In recent days my attempts to survive as a (still) decent individual were hindered by close encounters with mass-related idiocy. As those moments threaten to generate a measure of internal disquiet, that is the start signal for rummaging across the archives to retrieve forgotten items undeservedly accumulating dust in some plastic box. There is nothing like filling the ears with significant sounds to repel the annoying recollection of blathering bugs hiding psychological deficiencies behind a grotesque mask of pseudo-intellectual ignorance.
As I stumbled upon Transit Mundi – a record from 2012 by a composer whose last post on his website dates from the preceding year – the initial listen opened a whole world of aural depths, immediately putting the chest in a “tranquil breathing” rhythm. The subsequent spins confirmed the necessity of bringing this gentleman back from obscurity. Suárez Sánchez used a variety of expressive means – including field recordings – to present the listener with an immersive, multi-dimensional acousmatic voyage. His work belongs to the zone where reality and illusion mix to produce serious mental void for a thorough cleaning of any bad intention. It’s full of minuscule details, and yet magnificently vast in its rich reverberations. It really gives an idea of cosmic continuity, minus the boring verbosity typical of those who talk the talk but never walk the walk. And it even features taped reincarnations of Antonin Artaud and Jorge Luis Borges, respectively speaking in “Vulgus Veritatis Pessimus Interpres” and “Ubi Est Mor Victoria Tua”.
The final advice is predictable. Get a copy of this release and let it flow within, possibly via headphones – not at excessive volume – and resting your head with the eyes closed. It will help finding several instants of pure magic as your innermost cavities resonate. Yet another exemplification of one of my favorite mottos: good music has no expiry date. Time for Suárez Sánchez to update us with new posts.
MASSIMO RICCI. TOUCHING EXTREMES. 