VIVA LA MUSICA! INTERNET2Producciones Doradas, Spain
Rating: 76
By Carlos Reyes
We were first introduced to Internet2 by Joe Crepusculo’s “Caja de Lluvia” (one of the many good from Supercrepus) and it was surprising although not entirely convincing, it showed up near the end of the song managing to make Joe’s naturally sloppy vocals into the most charming thing. The song left me confused, so much that I related the emerging sound to “a storm of noise going nowhere”, and now it actually makes sense, it’s that and a whole lot more. It’s an album full of freedom in its structure and themes, what’s truly special is that it’s not trying to break rules or get through any kind of restrictions, it simply lacks walls. Viva La Musica! really carries its name with distinction, it’s full of misbehaving loops floating around, clashing into each other as they please, and a single man aligning them into his interpretation of a never-ending fest.
Full of force and clickable in all its pieces, I could only compare this to Pepepe’s Roba Orgon de Plantas y Animales and Emilio Jose’s Chorando Aprendese, except that Viva La Musica! is messier (and perhaps more abstract), stepping into this territory requires a point of direction, whether it is size, color or altitude, you can’t recruit massive amounts of sounds and expect them to celebrate freely without suffering some kind of chaos. The live shows are very interesting and are easier to understand his intentions, on stage he really is on full control of its creation, jumping on a programmed keyboard unleashing its magic as he practices his will of being a hidden author. On record, it sounds epic, it’s hard to recommend the WHOLE thing but some titles make up for the weak infrastructure of others. Starting with the blissful opener, “Dar Penita” is like a check list of what’s missing to attain the perfect intro, “can you feel it? Solo nos falta un clarinete de cartón, una chispa de sol…”, but there’s nothing missing, this is the one perfect piece to which the rest of the album looks up to, also, the only one to really feature undistorted vocals.
Everyone’s favorite dwarf from Snow White shows up in “Ton Tin” (Dopey), very instructional and even lame but at the end it does a good job linking the music to a Disney icon. The next track “Animals al Institut del Teatre” is a visit to the zoo, or a visit to the theater by some clever animals, either way it’s consciously cute, too much to tolerate. “DJ Turbofiesta” comes in to breathe some functionality to the middle of the album, which can get grueling without some food on your system. After many tracks with minimal use of vocals, the presence of vocal narrative is highly appreciated in “El Himno de la Biosfera Terrestre”, like most of the album, it sounds like a factory of sounds, perhaps they’re too sloppy or at lost but this a rush of sonic amplitudes not to be missed, makes itself be heard at whatever cost and cause, and it takes you with it whatever the hell it wants to go.