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Rogelio Sosa
Daturas

avantgarde
Bocian, 2014

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vinyl:18,28€
in stock
cat. no: BC-ROG
colour : black
download code : no
format : 12"LP
number of discs : 1
packaging : singlefold


no. title play mp3
1 Descenso 8:10
2 Diablero 7:13
3 Visiones 7:16
4 Caída Libre 5:38
5 Cáliz Del Infierno 9:32
6 Última Invocación 6:0


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https://youtu.be/k6IpWw6BoTM
https://youtu.be/08fAYuXf9rc
https://youtu.be/SvuM7WiMGL8
https://youtu.be/cg4k5t0wlx8

33 RPM
Limited edition of 300
artwork: Lasse Marhaug
mastering and cut: Barry Grint (Alchemy Mastering London)

reviews:
Boldly engrossing electro-acoustic composition from award-winning Mexican composer, Rogelio Sosa, on the ever enlightening Bocian Records. As its botanical title suggests, 'Daturas' probes nightmarish, psychedelic aesthetics reflecting the toxic plant's putative qualities - from use in "witches brew" to its use as a murderous poison and instigator of delirious states - and also its transition from spiny fruit to seductive, trumpet-shaped bloom. (...) Bracing and unnerving to say the least. Side one, he peers into oncoming electro-acoustic gloom to make out keening black metal shapes in 'Decenso', before the infernal roil and densely symphonic noise attack of 'Diabelero', and the lucid, chamber-like clarity and agenda of 'Visiones'. Side Two starts furtively in 'Caida Libre' but soon ratchets a cloud of vicious shoegaze/noise harmonics, giving way to the Darvazian, ten minute fire pit drones of 'Câliz Del Inferno' and the acrid metallic discord of Última Invocacion'. It's arguably the label's strongest side since Kevin Drumm's 'Crowded', and a strong recommendation for all psychonauts and seekers of entrances to hell.
(–) boomkat

"(...) It's never easy to choose where to start but today I was going for the name I never heard of, being Rogelio Sosa. He's a guitarist from Mexico who studied computer music in Paris and is now back in Mexico. Besides playing music he curates music festivals. He has had a CD on Sub Rosa. Of his music he says it 'explores a wide range of aspects that deal with sound morphology, structures of auditory reference, and performativity, questioning at the same time the contemporary notions of “noise” and “music”' and listening to the six pieces I can see that. His guitar playing is transformed on the spot, using computer technology, but that doesn't necessarily lead to highly refined, warm, laptop doodling. Everything here is quite loud and severely distorted but at the same ti
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