Today we bring you sweet jams from a couple of members of Spain’s 1970s-1990s experimental electronic/ambient music scene. With their music, they steel our nerves and soothe our limbic systems as we begin the unpredictable adventure of our commute into work; when the time comes, they dull the sharp shock of delays, cancellations and general unpleasantnesses, jacking up our zen levels and preventing a severe loss of sanity. We owe them a lot.
You can approach his music in two ways at least. Left in the background, you will experience golden balearic ragas redolent of the perfect Mediterranean sunset. If you zoom in, they become something else, bangers for the soul whose loops, crescendos and drops have been smoothed away by an eternity lying under the sun, kissed by the waves. Almost gone, but they still linger.
Next time you go down to the beach pick up a conch and listen to it’s music, that’s the pirate radio where Suso Sáiz tops all the charts.
There are still some copies of Odisea left at the Music from Memory shop. Go get.
Iury Lech is a Ukrainian multidisciplinary artist based in Madrid. In the late 1980s, he released a few ambient albums in the defunct experimental label Hyades Discs (which also put out some music by Suso Sáiz).
Música Para El Fin De Los Cantos is the second in that set (we’ll tell you about the others some other day), and it is truly spectacular. Is it ambient? Maybe not, its presence is too strong, its spiritual payload too apparent, its feeling of cosmic loneliness (which Gavin Russom and Delia Gonzalez also harnessed) takes it away of the chill-out zone, and into darker territories.
Perhaps it is something else… folk music for the survivors of a sunken world? A hymnal for the abyssal church? We don’t know, but it seeps into our unconscious with heavy messages from the past, or perhaps the future.