Sonido Cosmico

ラテン・インストゥルメンタル・バンド、Hermanos Gutierrezの最新アルバム

エクアドル系スイス人の兄弟によってチューリッヒで結成された。
兄弟の絆と音楽の傷kなを完璧に捉えた、ミニマルで神秘的な作品。

After Hermanos Gutierrezs El Bueno y el Malo, an album inspired by spaghetti Western soundtracks, the Ecuadorian-Swiss siblings Alejandro and Estevan Gutierrez got unanticipated media and streaming attention resulting in better opportunities. They played a celebrated gig at Coachella, headlined the Ryman in Nashville and Brooklyn Steel, toured with Khruangbin, and were the house band at Vanity Fairs Oscar party for Oppenheimer. Sonido Cosmico, their second Easy Eye Sound date and sixth overall, doesnt abandon their rich bevy of desert-blasted soundscapes entirely; these 12 tracks use a wider range of instruments and ponder the mysteries of space as much as the lonely, arid horizon. Producer Dan Auerbach plays a more active role. He presents Hermanos Gutierrezs sound as intended, not considered. They are accompanied throughout by Mike Rojas on piano, Fender Rhodes, and Farfisa and Hammond organs. Other musicians include Auerbach on occasional guitar, bass, and Mellotron, Tom Bukovac (guitar), Sam Bacco (percussion), and a couple of drummers in Jeffery Clemens and Adam Schreiber. Nashville session ace Matt Combs adds strings to the title track. The greatest difference between Sonido Cosmico and its predecessor is in the songwriting. No matter how spacious, open, and drifty they sometimes sound, they are tightly crafted, with verses, choruses, and in some cases, a bridge. Opener "Lagrimas Negras" ("Black Tears") uses Estevans slide as the lyric instrument, while Alejandros fingerpicked electric teases out both bolero and flamenco notions, creating something mysterious, outside the grasp of the physical. "Cumbia Lunar" is nocturnal. Baccos hand drums bubble under Rhodes and Farfisa on the cumbia vamp, while the guitarists, using wah-wah pedals and a truckload of warm reverb, weave together strains of surf, psychedelic blues, modal folk music, and danzon. "El Fantasma" sounds like the opening theme of a spaghetti Western filmed in space. Rumbling, low slide guitar lines meet a serpentine B-3, muted drum kit, and wah-wah guitar rhythms, circling one another until they leave for points unknown. The title track weds a triad of electric guitars, B-3, vibraphone, Farfisa, percussion, and strings. Combs adds an ethereal dimension to the backdrop, from which hangs subdued yet spiraling interplay between the guitarists. The baritone guitar Auerbach employs as a bass in anchoring a speedy Viennese waltz frames a dialogue between guitars and strings. The proceedings sound more than a little like Mono. Thats countered in the single "Barrio Hustle," where wah-wah pedals reign supreme. Threaded through Peruvian cumbia, keyboards texture the inner space and govern the dynamics for a trio of electric guitars to weave darkly tinged Latin psychedelia across funky, trance-like, beats. "Los Navegantes" offers dovetailed guitars playing alternate melodies, spinning a single idea into a labyrinth of creative inquiry. Sonido Cosmico is gorgeous. This music retains Hermanos Gutierrezs core musical fingerprint. That said, its collaborative strategy extends the brothers reach in exploring genres, rhythms, colors, textures, and production techniques. ~ Thom Jurek

ギター兄弟ロス・エルマノス・グティエレスによる通算6作目。漫才の最中のようなジャケだが内容は50年代ラテンアメリカのノスタルジーと哀愁に満ちたインストゥルメンタル作。メキシカンやマカロニ・ウェスタン、クンビアからサルサまで多様な要素を融合させ、アンビエントな音響処理を施した楽曲は、共演も果たしたクルアンビンにも通じる"ここではない何処か"を感じさせるもの。プロデュースを担当するのは前作に引き続きブラック・キーズのダン・オーバック。いなたい車に乗って昼夜問わず果てしない広野を走り続け、最終的に宇宙へと飛び立っていってしまう、そんな男のサウンドトラック。
intoxicate (C)小畑雄巨