If you like smooth latin music with buttery jazz breakdowns, this is the album for you.
The first track, “El Mundo Fosforescente” erupts with a guitar solo in the final minute after building the song up with a surging and content two minute vamp. It hits the gut, but the vocals appearing halfway through the song are also a highlight, with just enough mystery and echo in the Spanish spoken word DDLO displays so well.
The next entry on the album, “El Día Que Llegó El Payaso” is much lighter track, bubbling like ice cold soda pop at a hot summer picnic. The choir of kids hollering behind the band are a real treat too, with their energy elevating the track even further. While the phased-out guitar could be amplified even further, especially after such a strong six string opening, the entire group blossoms into a sultry trumpet ballad here. The guitar gets turned up along with the chorus in the final minute, making the second track on this album just as strong in mood and suspense as the first.
“El Pulpo y La Luna,” the third song here, is a psychedelic as can be, but with that exploration of trippy sounds comes a loss of musical thesis for the group. It sounds like a band trying to emulate psyched out classics, Pink Floyd’s “Interstellar Overdrive” for example, but the group fails to engage the listener with the same focused rhythm the album opened with. The album closer, however, is probably the best song on the whole project. With gorgeous guitar, both distorted and acoustic at times, blooms with life against a rippling, calming rhythm. It almost sounds like the type of music you’d hear at the end of a Sergio Leone movie.
You need to hear it believe it.