One may think what they want about crossover experiments with electric music. However, those who are foolish enough to immediately fold their arms against such music are not only missing out on potentially great tracks but also on the artist Adrian Benavides. And that wouldn't really be "nice."
The cruelly marked musician Adrian Benavides processes – with friendly and debuting support from Markus Reuter and Pat Mastelotto – the death of his daughter in this 6-track strong download. With charged emotions and the will to give his feelings a manifested form, the native Texan has produced a very entertaining and, above all, captivating album.
Despite the rather manageable song list, the songs total almost 40 minutes of playtime. One might think that something doesn't quite add up, but when you focus on the individual songs, you even discover some that have a runtime of nearly 13 minutes. Friends of quick endings have – much like women during marital and eagerly awaited intercourse – less fun to expect here.
In this surprisingly long playtime, I still haven't managed to pigeonhole Mr. Benavides after multiple listens. However, after I had the idea of locking him in my closet, the problem (after many scratches and battle wounds) was resolved.
Unfortunately, the following problem cannot be solved with closets: What kind of music does the aforementioned gentleman actually play? There are hard instruments to be heard, such as heavily distorted guitars, a deep and menacing bass, and of course a damn hard (and thus also cool) drum set. While these sounds flow rather slowly, electronic aspects can be found in the songs. Some sound very "industrial," while others are typically "electronic," meaning the sound-typical support with the popular keyboard instrument. Since there is always something new (but somehow familiar) to hear, I cannot make a clear definition.
Even the vocals do what they want. Although it sometimes gets a bit harder, Mr. Benavides still remains true to his style and limits himself to his subtle and almost "calm" singing. This gives the songs, as long as they are not just instrumentals, a somewhat darker note. The atmosphere feels oppressive, yet somehow fascinating and – similar to the previously mentioned marital intercourse – captivating. Despite the indescribability, it is a wonderful sound that one should definitely have heard!
This album consciously distinguishes itself strongly from other albums by not pushing itself to the forefront like its competitors but rather staying behind the scenes. The music is wonderfully suited for simply switching off and letting the soul and other body "parts" dangle in the background of these sounds (for example, the arms). I even go so far as to claim that almost film music with vocals has been produced here, which only aims to be combined with images (preferably those from one’s own imagination) to start a little mental cinema.
However, those who crave variety should steer clear, as they might be plagued by boredom due to a wide stylistic range: monotony. The music on this album lives from its sounds and the listener's ability to let themselves drift and swim along with the sounds. For this reason, many sections in the songs are deliberately elongated, causing much to repeat or sound similar. So, those looking for great variety WITHIN the individual songs will find themselves pressing "Next Song" after just a few minutes. However, those who enjoy drifting in musical nirvana and spending a few minutes of their lives dreaming will definitely find joy in this record.
Personally, Adrian Benavides has created an incredible work that he has produced with audible passion. I still listen almost in love to the lovely sounds of "Reflection ll" or the incredible and atmospheric instrumental/vocal contributions in the song "Exterior Of A Heart." THANK YOU, Mr. Benavides.
Just giving it a listen is surely the least one can do!
