In Sapos y Ellos we hear a prayer, a petition, it is the human feeling incarnated in the baritone sax, before the exuberant earthly fauna. "They" all stand up and impose their sonority, the tenor sax intervenes with impressions that seem to be subtracted from eras of events, the overwhelming life evolving with its tireless and natural engine: the cycle life, drama and death. A melody bursts in, it is one of "them", but in being one they are already others; the Koto, the electronics and the dog sustain the mutation, this is the way the song comes together, it amalgamates in the multiplicity of existences and complementarities and it comes out well. The darkness and the exuberance together reflect evident danger, a world hostile to others, but provided with effective defense mechanisms of its own. Thus I vibrate Sapos y Ellos. Sap and blood, the only way to enter, is with forceful humility. The unusual baritone sax exerts its message that seems furtive but that flows and imposes itself as a true counterweight of the song. The concrete music appears here, the toads and them, the guitars, and the synths. Sax in discord, Sax that redeems. Blood, sweat, and tears in this out-of-the-ordinary song.
Translated with
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from
Pandemonium,
released March 12, 2021
Propositor, recording of toads, guitar, scraped
scraped, "pollo", pedal, "koto": Guillermo G.
Phillips.
Baritone saxophone: Guillermo Portillo. Alto saxophones : Dave Barrett.