Boomkat Product Review:
Grabaciones Accidentales alum Juan Belda’s eponymous 1986 debut resurfaces on its first reissue, bending concrète jazz skronk, industrial body music and cinematic, proto-illbient dub to will with a precious assortment of synths
Recorded at esteemed Spanish composer Luis Carlos Esteban’s studio with Yamaha cs80, Emulator 2, Linn 9000,Mini moog, DX7, PPG Wave, and VCS 3 on hand, Belda’s debut is an immersive affair that lands right at the tail end of records produced with digits on dials and keys, but mostly sans computer. The results can surely be compared with foundational and contemporaneous efforts and approaches by the likes of NWW, Cabaret Voltaire, or Chris & Cosey, but are perhaps best considered in the vein of prototypical Spanish bands such as Randomize or Mécanica Popular, and the eclectic psychoactivity of László Hortobágyi.
The breadth of mutant industrial jazz-fusion styles shape up and congeal like an imagined soundtrack to a noirish, surreal Spanish adjunct to Lynch and his work with Badalamenti, as overseen by mischievous Fluxus types and John Zorn. Yet for all those imagined references, it’s a coolly personalised sound, following Belda’s nose for cranky audness between the kerb-crawl sleaze of ‘Kay’ to a romantic closure of effected choral pads, keys and smudged brass on ‘El Espejo’, while taking in action hero theme disco on ‘La Rosa 64’ and sexy cuts of proto-Mark Snow thriller styles in ‘Ytak’ and ‘Requiem’, with ‘Bam-Balai’ recalling On-U Sound oddities, and ‘Outside The World’ is an outstanding piece of shapeshifting electro industrial abstraction.