Perfectly smoky but lucid meld of jazz and indie chamber-pop from the wonderful Mabe Fratti, heading a promising new quartet with a sound lodged somewhere between Antena, Arthur Russell, Elaine Howley, Julia Holter, Fleetwood Mac and Vicente Atria.
‘Vidreo’ is among the most satisfying debuts we’ve heard in 2023. Its eight songs are surely defined by the ethereal tenor of Mabe Fratti’s vocals, as beloved from last year's fantastic 'Se Ve Desde Aquí' album for Unheard Of Hope, but here wrapped around the arrangements of Hector Tosta, aka i.la Católica, who plays piano and guitar alongside Jarrett Gilgore (saxophone) and Gibran Andrade (drums). Song to song they deftly work within and skew classic styles with an expressively nuanced grasp of jazz-punkish consonance/dissonance at just the right moments, each set to breezy, lilting latinate grooves that hail their Central American provenance.
Welding cello and voice in a strong but ethereal tenor, Fratti resembles a descendent of Arthur Russell, most notably on the opener ‘Anonima’ and its careful development from plaintive strokes ornamented with what sounds like prepared piano, to Julia Holter-esque harmonies and punkish distortion. The group’s feel for inventive tunings is also apparent in the wistful ambiguity of ‘Circulo Perfecto’, and we can’t help but recall Fleetwood Mac in the striking symphonic groover ‘Cielo Falso’, while the deliciously woozy sax, organ and dusted drums of ‘Hotel Elizabeth’ remind us of Vicente Atria’s ingenuity, ‘Te Evite’ is spritzed with the timeless lightness of Elaine Howley, and ‘Balanza’ wraps it up with a wicked lick of downbeat skronk.
It’s quite the confection.
View more
Perfectly smoky but lucid meld of jazz and indie chamber-pop from the wonderful Mabe Fratti, heading a promising new quartet with a sound lodged somewhere between Antena, Arthur Russell, Elaine Howley, Julia Holter, Fleetwood Mac and Vicente Atria.
‘Vidreo’ is among the most satisfying debuts we’ve heard in 2023. Its eight songs are surely defined by the ethereal tenor of Mabe Fratti’s vocals, as beloved from last year's fantastic 'Se Ve Desde Aquí' album for Unheard Of Hope, but here wrapped around the arrangements of Hector Tosta, aka i.la Católica, who plays piano and guitar alongside Jarrett Gilgore (saxophone) and Gibran Andrade (drums). Song to song they deftly work within and skew classic styles with an expressively nuanced grasp of jazz-punkish consonance/dissonance at just the right moments, each set to breezy, lilting latinate grooves that hail their Central American provenance.
Welding cello and voice in a strong but ethereal tenor, Fratti resembles a descendent of Arthur Russell, most notably on the opener ‘Anonima’ and its careful development from plaintive strokes ornamented with what sounds like prepared piano, to Julia Holter-esque harmonies and punkish distortion. The group’s feel for inventive tunings is also apparent in the wistful ambiguity of ‘Circulo Perfecto’, and we can’t help but recall Fleetwood Mac in the striking symphonic groover ‘Cielo Falso’, while the deliciously woozy sax, organ and dusted drums of ‘Hotel Elizabeth’ remind us of Vicente Atria’s ingenuity, ‘Te Evite’ is spritzed with the timeless lightness of Elaine Howley, and ‘Balanza’ wraps it up with a wicked lick of downbeat skronk.
It’s quite the confection.
Perfectly smoky but lucid meld of jazz and indie chamber-pop from the wonderful Mabe Fratti, heading a promising new quartet with a sound lodged somewhere between Antena, Arthur Russell, Elaine Howley, Julia Holter, Fleetwood Mac and Vicente Atria.
‘Vidreo’ is among the most satisfying debuts we’ve heard in 2023. Its eight songs are surely defined by the ethereal tenor of Mabe Fratti’s vocals, as beloved from last year's fantastic 'Se Ve Desde Aquí' album for Unheard Of Hope, but here wrapped around the arrangements of Hector Tosta, aka i.la Católica, who plays piano and guitar alongside Jarrett Gilgore (saxophone) and Gibran Andrade (drums). Song to song they deftly work within and skew classic styles with an expressively nuanced grasp of jazz-punkish consonance/dissonance at just the right moments, each set to breezy, lilting latinate grooves that hail their Central American provenance.
Welding cello and voice in a strong but ethereal tenor, Fratti resembles a descendent of Arthur Russell, most notably on the opener ‘Anonima’ and its careful development from plaintive strokes ornamented with what sounds like prepared piano, to Julia Holter-esque harmonies and punkish distortion. The group’s feel for inventive tunings is also apparent in the wistful ambiguity of ‘Circulo Perfecto’, and we can’t help but recall Fleetwood Mac in the striking symphonic groover ‘Cielo Falso’, while the deliciously woozy sax, organ and dusted drums of ‘Hotel Elizabeth’ remind us of Vicente Atria’s ingenuity, ‘Te Evite’ is spritzed with the timeless lightness of Elaine Howley, and ‘Balanza’ wraps it up with a wicked lick of downbeat skronk.
It’s quite the confection.
Perfectly smoky but lucid meld of jazz and indie chamber-pop from the wonderful Mabe Fratti, heading a promising new quartet with a sound lodged somewhere between Antena, Arthur Russell, Elaine Howley, Julia Holter, Fleetwood Mac and Vicente Atria.
‘Vidreo’ is among the most satisfying debuts we’ve heard in 2023. Its eight songs are surely defined by the ethereal tenor of Mabe Fratti’s vocals, as beloved from last year's fantastic 'Se Ve Desde Aquí' album for Unheard Of Hope, but here wrapped around the arrangements of Hector Tosta, aka i.la Católica, who plays piano and guitar alongside Jarrett Gilgore (saxophone) and Gibran Andrade (drums). Song to song they deftly work within and skew classic styles with an expressively nuanced grasp of jazz-punkish consonance/dissonance at just the right moments, each set to breezy, lilting latinate grooves that hail their Central American provenance.
Welding cello and voice in a strong but ethereal tenor, Fratti resembles a descendent of Arthur Russell, most notably on the opener ‘Anonima’ and its careful development from plaintive strokes ornamented with what sounds like prepared piano, to Julia Holter-esque harmonies and punkish distortion. The group’s feel for inventive tunings is also apparent in the wistful ambiguity of ‘Circulo Perfecto’, and we can’t help but recall Fleetwood Mac in the striking symphonic groover ‘Cielo Falso’, while the deliciously woozy sax, organ and dusted drums of ‘Hotel Elizabeth’ remind us of Vicente Atria’s ingenuity, ‘Te Evite’ is spritzed with the timeless lightness of Elaine Howley, and ‘Balanza’ wraps it up with a wicked lick of downbeat skronk.
It’s quite the confection.
2025 re-press. Limited pink vinyl edition with obi strip.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Perfectly smoky but lucid meld of jazz and indie chamber-pop from the wonderful Mabe Fratti, heading a promising new quartet with a sound lodged somewhere between Antena, Arthur Russell, Elaine Howley, Julia Holter, Fleetwood Mac and Vicente Atria.
‘Vidreo’ is among the most satisfying debuts we’ve heard in 2023. Its eight songs are surely defined by the ethereal tenor of Mabe Fratti’s vocals, as beloved from last year's fantastic 'Se Ve Desde Aquí' album for Unheard Of Hope, but here wrapped around the arrangements of Hector Tosta, aka i.la Católica, who plays piano and guitar alongside Jarrett Gilgore (saxophone) and Gibran Andrade (drums). Song to song they deftly work within and skew classic styles with an expressively nuanced grasp of jazz-punkish consonance/dissonance at just the right moments, each set to breezy, lilting latinate grooves that hail their Central American provenance.
Welding cello and voice in a strong but ethereal tenor, Fratti resembles a descendent of Arthur Russell, most notably on the opener ‘Anonima’ and its careful development from plaintive strokes ornamented with what sounds like prepared piano, to Julia Holter-esque harmonies and punkish distortion. The group’s feel for inventive tunings is also apparent in the wistful ambiguity of ‘Circulo Perfecto’, and we can’t help but recall Fleetwood Mac in the striking symphonic groover ‘Cielo Falso’, while the deliciously woozy sax, organ and dusted drums of ‘Hotel Elizabeth’ remind us of Vicente Atria’s ingenuity, ‘Te Evite’ is spritzed with the timeless lightness of Elaine Howley, and ‘Balanza’ wraps it up with a wicked lick of downbeat skronk.
It’s quite the confection.