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CD Feature/ Earzumba: "Hermoso Movimento/ Floresce Escondido"

img  Tobias

When German magazine “De:Bug” pusblished a review of this release, one of its readers was quick to point out, that the music was even more effective, if one knew the man behind it. Christian Dergarabedian, the very reader remarked, hardly ever embarked on lengthy discussions and if he did, they were mostly of a mazy and confusing nature. Thus, he concluded, the two albums crammed on this single disc could be regarded as aural trips through his psyche and the sounds most likely as extracts of his direct environment. If this be the truth, the wonders of “Floresce Escondido” and “Hermoso Movimento” have only just started growing.

And that is saying quite a lot. If you were introduced to Earzumba with his latest CDs, then you’re in for a shift in perspective. “Bestia Infernal” forced the sample-crazy musical rainbow of its first half to fraternise with the dark drone rumblings of its finale and the halucinating collage of “Simulando un refugio” meandered alongside the banks of noise and intensely flickering images. Both albums touched uncharted territory and gave new meaning to the term “unconventional”. Their drastic vision was always prone to please the press more than the public – if you leave out the occasional groovy sections. This is were this offering by Argentinian label “Dial Sin Fin” step in. Brilliantly concise, it offers two different doors into the hallways of Dergarabedian’s mind and both are paved with direct rewards. “Hermoso Movimento” is the more diverse and dynamic work, ranging from musique concrete arrangements and ecstatic rhythms to the sombre sighs of “Dicho sin Palabras” or the clinical dissections of “Reverba Aun”. Christian places sonic events alongside each other, which normally don’t see eye to eye, but his interest lies not in provocation, but in regaining the original purity of his source material – after all, the closing strummed guitar chords of “La Casa del Edificio del Amor” could well be kitch, if they didn’t roll out of a clean and upfront drone session. “Floresce Escondido” only seems yet more fragmented on paper, its mostly short pieces flowing in and out of each other with the ease of a snake on the search for prey. Dark and disillusioned, tracks carry titles such as “Monopolio del Dolor” (monopoly of pain) and the music remains stoically in its mould. But it is the consoling grace of “La Vestido Celeste”’s echoing harmonies and the grand, intangible nine-minute finale that prevent things from falling into a black hole of self-pity.

Whether or not one can appreciate all of this even more after getting to know its creator, remains a thesis open for debate (or a meeting, if you’re really interested). So let’s stay on the safe side of things. It is with the statement that “Earzumba is one of the most interesting projects around” that the aforementioned reader closes his letter. That much is certain.

By Tobias Fischer

Homepage: Earzumba

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