By Elizabeth Wells

Presumably someone thought that making one long track embodies the 'conceptual' idea when it comes to avant-garde music making. Unfortunately it also means that if you get pissed off within the first few minutes with the way the direction is going, you are unlikely to have the patience to sit out the whole thing. C is one such album, where the cultivation of a soothing atmosphere based on the sounds of the natural environment is interrupted by some irritating episodes.

The piece opens with static noise rising to a crescendo which dips and builds like the sound of a damaged engine of a plane flying overhead. The mutated sound of an alarm infiltrates the processed noise from time to time, and a background hum of static helps to convey the sense of a recording that's been deliberately 'roughed up'. The second half of the piece delves more deeply into what sounds like source material from the natural environment, such as running water and the sounds of frogs in the twilight, which lend it a more welcome organic edge.

It is no surprise to find out that this Puerto Rican duo conceived this piece between stopovers through many cities as diverse as Santo Domingo and Zurich. It has the stamp of nomadism all over it in the convergence of various tones that derive from the freneticism of the urban environment to the calm of ocean waves.
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