/Beyond/
Frecuencias Ancestrales
Boomkat Product Review:
Bracingly stark and brooding investigations of Mexico’s ancestral sounds and pre-Hispanic cultures, galvanised with reverberant electronics and post-techno pulses for Eomac’s label
Possessed by hellish electronic spirits and driven by rooted rhythms, ’Frecuencias Ancestrales’ is the first attempt to commune with ancient spirits in the C.21st conjured by producer, /Beyond/, and visual artist Pedro Maia. Going on heavier than the similarly themed ontological experiments of Debit (due soon on Modern Love) and Elysia Crampton Chuquimia’s Chuquimamani-Condori, the nine parts feature collaborations with indigenous Chichimeca Jonaz musicians, pre-Hispanic poet Nestor Vargas and instrumentalist Oscar Carillo, modular synthesist Leo Méndez and ancient Nahuati mantras by Humberto Alvarez rendered in a modernist industrial-electronica vernacular of hammering drums and gyring electro-acoustic spatialisation.
Sometimes the theme gets lost to the modernist palette, which could be mistaken for many other modern industrial-experiemtnal records, but it’s most palpable on highlights such as ‘Tepectli Monamictlan’, whose crafty rhthms almost parallel Gabber Modus Operandi’s hardcore take on Indonesian traditions, and also in the plangent whistles and throaty drones of ‘Itzehecayan, which feels like an AI regressing to ancient times, and in the striking percussive intricacies of ‘Timiminaloayan’ and the deathly grind of ‘Izmictlan Apochalolca’.
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Boomkat Product Review:
Bracingly stark and brooding investigations of Mexico’s ancestral sounds and pre-Hispanic cultures, galvanised with reverberant electronics and post-techno pulses for Eomac’s label
Possessed by hellish electronic spirits and driven by rooted rhythms, ’Frecuencias Ancestrales’ is the first attempt to commune with ancient spirits in the C.21st conjured by producer, /Beyond/, and visual artist Pedro Maia. Going on heavier than the similarly themed ontological experiments of Debit (due soon on Modern Love) and Elysia Crampton Chuquimia’s Chuquimamani-Condori, the nine parts feature collaborations with indigenous Chichimeca Jonaz musicians, pre-Hispanic poet Nestor Vargas and instrumentalist Oscar Carillo, modular synthesist Leo Méndez and ancient Nahuati mantras by Humberto Alvarez rendered in a modernist industrial-electronica vernacular of hammering drums and gyring electro-acoustic spatialisation.
Sometimes the theme gets lost to the modernist palette, which could be mistaken for many other modern industrial-experiemtnal records, but it’s most palpable on highlights such as ‘Tepectli Monamictlan’, whose crafty rhthms almost parallel Gabber Modus Operandi’s hardcore take on Indonesian traditions, and also in the plangent whistles and throaty drones of ‘Itzehecayan, which feels like an AI regressing to ancient times, and in the striking percussive intricacies of ‘Timiminaloayan’ and the deathly grind of ‘Izmictlan Apochalolca’.
Boomkat Product Review:
Bracingly stark and brooding investigations of Mexico’s ancestral sounds and pre-Hispanic cultures, galvanised with reverberant electronics and post-techno pulses for Eomac’s label
Possessed by hellish electronic spirits and driven by rooted rhythms, ’Frecuencias Ancestrales’ is the first attempt to commune with ancient spirits in the C.21st conjured by producer, /Beyond/, and visual artist Pedro Maia. Going on heavier than the similarly themed ontological experiments of Debit (due soon on Modern Love) and Elysia Crampton Chuquimia’s Chuquimamani-Condori, the nine parts feature collaborations with indigenous Chichimeca Jonaz musicians, pre-Hispanic poet Nestor Vargas and instrumentalist Oscar Carillo, modular synthesist Leo Méndez and ancient Nahuati mantras by Humberto Alvarez rendered in a modernist industrial-electronica vernacular of hammering drums and gyring electro-acoustic spatialisation.
Sometimes the theme gets lost to the modernist palette, which could be mistaken for many other modern industrial-experiemtnal records, but it’s most palpable on highlights such as ‘Tepectli Monamictlan’, whose crafty rhthms almost parallel Gabber Modus Operandi’s hardcore take on Indonesian traditions, and also in the plangent whistles and throaty drones of ‘Itzehecayan, which feels like an AI regressing to ancient times, and in the striking percussive intricacies of ‘Timiminaloayan’ and the deathly grind of ‘Izmictlan Apochalolca’.
Boomkat Product Review:
Bracingly stark and brooding investigations of Mexico’s ancestral sounds and pre-Hispanic cultures, galvanised with reverberant electronics and post-techno pulses for Eomac’s label
Possessed by hellish electronic spirits and driven by rooted rhythms, ’Frecuencias Ancestrales’ is the first attempt to commune with ancient spirits in the C.21st conjured by producer, /Beyond/, and visual artist Pedro Maia. Going on heavier than the similarly themed ontological experiments of Debit (due soon on Modern Love) and Elysia Crampton Chuquimia’s Chuquimamani-Condori, the nine parts feature collaborations with indigenous Chichimeca Jonaz musicians, pre-Hispanic poet Nestor Vargas and instrumentalist Oscar Carillo, modular synthesist Leo Méndez and ancient Nahuati mantras by Humberto Alvarez rendered in a modernist industrial-electronica vernacular of hammering drums and gyring electro-acoustic spatialisation.
Sometimes the theme gets lost to the modernist palette, which could be mistaken for many other modern industrial-experiemtnal records, but it’s most palpable on highlights such as ‘Tepectli Monamictlan’, whose crafty rhthms almost parallel Gabber Modus Operandi’s hardcore take on Indonesian traditions, and also in the plangent whistles and throaty drones of ‘Itzehecayan, which feels like an AI regressing to ancient times, and in the striking percussive intricacies of ‘Timiminaloayan’ and the deathly grind of ‘Izmictlan Apochalolca’.
Limited edition transparent vinyl. With fanzine including artwork by Cannibalism Studio, photography by Teresa Espadafor, and design by Goldmoth Media.
Out of Stock
Boomkat Product Review:
Bracingly stark and brooding investigations of Mexico’s ancestral sounds and pre-Hispanic cultures, galvanised with reverberant electronics and post-techno pulses for Eomac’s label
Possessed by hellish electronic spirits and driven by rooted rhythms, ’Frecuencias Ancestrales’ is the first attempt to commune with ancient spirits in the C.21st conjured by producer, /Beyond/, and visual artist Pedro Maia. Going on heavier than the similarly themed ontological experiments of Debit (due soon on Modern Love) and Elysia Crampton Chuquimia’s Chuquimamani-Condori, the nine parts feature collaborations with indigenous Chichimeca Jonaz musicians, pre-Hispanic poet Nestor Vargas and instrumentalist Oscar Carillo, modular synthesist Leo Méndez and ancient Nahuati mantras by Humberto Alvarez rendered in a modernist industrial-electronica vernacular of hammering drums and gyring electro-acoustic spatialisation.
Sometimes the theme gets lost to the modernist palette, which could be mistaken for many other modern industrial-experiemtnal records, but it’s most palpable on highlights such as ‘Tepectli Monamictlan’, whose crafty rhthms almost parallel Gabber Modus Operandi’s hardcore take on Indonesian traditions, and also in the plangent whistles and throaty drones of ‘Itzehecayan, which feels like an AI regressing to ancient times, and in the striking percussive intricacies of ‘Timiminaloayan’ and the deathly grind of ‘Izmictlan Apochalolca’.
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