El Marrano de la Razon (the Converted Jew of Reason, i.e. Dutch philosopher
Spinoza), the project of
Mexican digital soundpainter
Oliver Lorenzana Medina, composed a
psychedelic collage of musique concrete on
La Incoacion de las Desbordantes Anomalias Apocalipticas (2011).
The ghostly whirlwind of Vlanii sounds like a distorted Indian requiem,
and an Australian didjeridoo triggers
the massive wall of noise of Das Runf.
Liposuccion Magnetica is ethnic-neutral chaos of extreme dissonance.
The spastic anthem for vocals and drums Himno meets a distorted
sample of a choir, like a collaboration between
Wild Man Fischer and Karlheinz Stockhausen
of Hymnen fame.
The tribal 16-minute Animal Ghost '69 Rider Machine is the musical
equivalent of someone throwing up while riding a wild horse.
The 18-minute La Marcha de la Realidad Caduca takes the premise of
Chrome's Zombie Wardance and
slowly disintegrates it.
The 12-minute Mini-soundtrack para una Sesion de Sexo Orgiastico Enteogenico is his (self-destructing) remix of La Bouche's dance-club hit Be My Lover.
The sprawling Garin (2012) contains 19 songs of various length, and, given the wildly different quality, feels like a collection of leftovers and unfinished experiments.
We go from the disco-folk of Raiz del Sol (9:24) to the
grotesque ballet of Palpitan mis cartilagos (8:59),
Incertidumbre (7:30), which sounds like the macabre
torture of a didjeridoo, to
Garin (29:00), a flow of living forms that peaks with a maximalist concerto for loud metallic squeaks.
Nothing feels focused, but maybe that's the whole point.
The 73-minute album Vogue (2014) contains 14 songs, notably the
Pneumatica Barbarie (7:02), the soundtrack of a brain lobotomy,
the dark ambient Zopilote Negro (8:04),
and the violent distorted concerto of
No (10:13), one of his punk-industrial peaks.
Dada Brotherhood Vol I-III (2016) was a tribute to the Dada movement of a century earlier.
Prolepsis (2019) is a self-indulgent experiment in droning music.
The three longer pieces are
little more than static drones. If Analepsis (8:19) doesn't go anywhere
and Prolepsis 2 (22:57) overstays after seducing with some eerie
resonance, Prolepsis 3 (13:03) redeems the album with a more dynamic
Discordancias (2019) proved that he was releasing too much material
with too little editing.
If the radioactive wind of Viviendo en la Fabrika (16:00)
lays an unnerving layer of suspense,
and the lugubrious drone of Anfang (9:58) exudes a similar post-apocalyptic feeling,
Fabrika Viviente (16:01) is a bit too subtle (and long) and
the wavering Absolutamente Redux (11:03) is disposable.
A Blaze In The Southern Sky (2020) contains three compositions:
At The Home Of The Order Of Melchizedek (16:09), a deliciously chaotic hybrid of kraut-rock and acid-rock that descends into grating drones,
the statically corrosive
Divine Harlot's Cosmic Cunt (13:02)
and the horror vortex of Sacred Rape (16:07).
Adefesio (2020) is an inferior work that contains three less intense
and more confused compositions:
Liran' Drone (15:02), a grotesque Dada dance that ends in nine minutes of subdued vocal and instrumental noise,
Adefesio (19:44), a sublime Stockhausen-esque collage of voices whose only problem is that it indulges in orgasmic segments,
and Pixie's Dead (12:10).
Ceremonia de la Confusion (2020) contains
the chaotic (and a bit childish) freak-out Hermetic Sword Destroying The Sun (8:44),
the terrifying galactic distortion Azufre y Mercurio (10:44)
and especially the ghostly demonic bedlam of Hidden Void (15:25).
The 36-minute EP Maranasati (2020) is another minor appendix to the
major program, with amateurish numbers like
the industrial rock Biological Industries Inc
and the mantra Crapulencia Sagrada framing
the eight-minute rabid wall of sound of La Estulticia de Sofia.
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