Third album of lysergic, charming and breezy post-exotica from Japan’s influential Em Records, shimmering somewhere between languid Balearic ambient, Jodorowsky’s ‘Holy Mountain’, Michael Nesmith’s ‘Rio’ and Manu Chao, played on a self-made percussion instrument and sung in an invented language.
“Clan Caimán, led by composer Emilio Haro, is a group from Argentina, but their timeless, organic music transcends nationality. ‘Pica-Pau’ (woodpecker), their third album, is their most abstract and minimal to date, but this is not a cold abstraction nor an austere minimalism; the music here, with its focus on rhythm and texture, is warm and hypnotic, seeming to have existed forever despite the fact that it was recorded in 2023-24.
As on their previous albums, all with EM Records, the music is driven by the kalimabafon, Haro’s self-made tuned percussion instrument. The kalimbafon’s patterns weave through waves of reverb-drenched lap steel and guitar, as bass undertow and sans-cymbal percussion allow the music to flow inexorably forward, like a broad, timeless river. The compositions here have a feeling of being immersed in deep night, surrounded by life, away from the enclosed isolation of the urban environment. As with previous albums, the compositions are instrumental, the exception being the final song, a vocal version of the opening track, sung in a language invented by Haro.”
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Third album of lysergic, charming and breezy post-exotica from Japan’s influential Em Records, shimmering somewhere between languid Balearic ambient, Jodorowsky’s ‘Holy Mountain’, Michael Nesmith’s ‘Rio’ and Manu Chao, played on a self-made percussion instrument and sung in an invented language.
“Clan Caimán, led by composer Emilio Haro, is a group from Argentina, but their timeless, organic music transcends nationality. ‘Pica-Pau’ (woodpecker), their third album, is their most abstract and minimal to date, but this is not a cold abstraction nor an austere minimalism; the music here, with its focus on rhythm and texture, is warm and hypnotic, seeming to have existed forever despite the fact that it was recorded in 2023-24.
As on their previous albums, all with EM Records, the music is driven by the kalimabafon, Haro’s self-made tuned percussion instrument. The kalimbafon’s patterns weave through waves of reverb-drenched lap steel and guitar, as bass undertow and sans-cymbal percussion allow the music to flow inexorably forward, like a broad, timeless river. The compositions here have a feeling of being immersed in deep night, surrounded by life, away from the enclosed isolation of the urban environment. As with previous albums, the compositions are instrumental, the exception being the final song, a vocal version of the opening track, sung in a language invented by Haro.”