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Boomkat Product Review:
It's safe to say that Mexican ex-pat Fernando Corona started a whole movement of classically-influenced electronic music when he dropped his incredible debut album 'Martes' back in 2002. With clipped and perfectly manipulated glitchy beats to rival anything emerging from the Mille Plateaux or Raster Noton stables and the kind of strings you'd expect to hear on a Kieslowski movie, Corona introduced many electronic music fans to the sounds of orchestral bliss and a subgenre was born. Before long we heard the textural explorations of Marsen Jules, the Badalamenti-inspired hum of Deaf Center and the post-classical explorations of Ryan Teague, and although many of them didn't sound identical to Corona's distinctive work, his influence was clear. Now in 2007 and on his third album Fernando Corona is at something of an interesting juncture in his career, looking to move on into new pastures while holding on to that signature sound. 'Cosmos' is a collection of six long-form pieces, music which for the most part dispenses with the beats altogether. His ability to layer strings into epic soundscapes rich with gravitas and levity is breathtaking, some have even mentioned Sunn O))) as an influence and certainly that can be heard on 'Cosmos' and 'Cosmos II', two highlights which build slowly over their ten minute duration into almost cacophonous noise. Another more suitable comparison however might be Machinefabriek who has also perfected this sound (as heard on 'Cello Recycling/Cello Drowning'), but where Rutger Zuydervelt lavishes his compositions with white noise and machine hum, Corona disguises his strings with digital clatter and electronic debris. Those distinctive beats we all became accustomed to on 'Martes' and 'Remembranza' do eventually make an appearance too, but their impact is Muted, surrounded by the grandiose darkness of the string arrangements. Eventually the album comes to a close with its longest piece, the glorious 'Oort' which is possibly the best thing here. Draped in orchestral flourishes and deftly played instruments (violin, horn, piano, xylophone) much of the track is in near silence, but grows and pulses assuredly like an ECM record heard through walls of aluminium, or Supersilent submerged beneath the sea. Yet another triumph from Fernando Corona then, and another highly recommended purchase.