berekeke – Estirpe (Album Review)

In today’s episode of the eclectic world of art we cover on Music Review World, I shall introduce the artist through something that reads off like a riddle.

Born into a humble, large, and hardworking family.

My academic musical began with the school rondalla.

A musician in various groups: trios, pianist, dance orchestras, artists such as Spain’s Eurovision contestant, Eva Santamaría, etc.

Over the years, a multi-instrumentalist.

Arranger for various musical groups and theatrical works.

The person this entails is none other than the renowned Southern Spanish composer Berekekê. His style of making a mark in this world is through brilliant compositions that reach the global ethos. Even though he has been overlooked by the mainstream music industry, he shined through the crowd of his contemporaries by arranging rhythms and chords in a unique manner. He is a master of bringing together different rhythmic elements, giving birth to an incredibly brilliant soundscape.

He had piano classes in his formative years, but emerged into the music scene years ago in 2003 with his debut release titled ‘MIRADORES’, an enticing blend of electronic and traditional instrumental resonance. His love for traditional music continues within prominent pieces such as: ‘Siete piezas chinas’, in 2006, ‘Plateroidelogía’, in 2006, ‘O último tucunaré’, in 2010 or’ El mundo de Hojyo Takashi’, in 2012.

His later albums, however, feature a novel and innovative melodic approach that makes him stand out in the crowd. He has also skilled expertise in the chamber genre, adding an eight-string quarter to some of his works. What keeps him distinct is the fact that he is an autodidact and a multi-instrumentalist. In this instance, he is continuing the evolution and legacy of his work through his newest album, titled ‘Estirpe‘.

The album is definitely experimental and avant-garde, with a lot of textures and sonic evolution to keep your mind running. The synthesis used is very sporadic but also calculative, making me wonder if the compositional techniques used beforehand are similar to some of Iannis Xenakis’ precompositional techniques. The album starts off with a determined but suspenseful track with interesting synthesizers plastered throughout to keep your mind running, before fading into the second track that uses human voices as the object of manipulation placed within atmospheric sounds that create texture. In a way, at this point of listening to the body of work, it serves as a performance art piece in of itself. It’s bright, but contemplative and extremely imaginative as well. There’s not a lot of space for people to experiment like this when it comes to music being marketed out there these days, and I think this type of music should be explored and embraced. As you listen to the track, it is so intricate and carefully carved- even though it may seem sparse to someone who is used to the typical pop music format. To be honest, it also reminds me of David Bowie’s experimental works towards the end of the ‘Low’ album, just in a more technologically forward fashion due to the advances in software.

The third track takes the experimental node of this album even further, with recurrent strings of melody spaced out in a hyper-Bach fashion- it’s like Baroque music reimagined for the deep future. The distinct juxtaposition between a flurry of notes and sparsity create a very unique interaction as you listen to it. Not to mention, the various timbres featured within the track, giving your ears a delightful sensation not just intellectually but also in a tactile manner. Think of the way that people appreciate different textures within the scope of objects in ASMR videos- just within the limits of instrumentation.

The fourth track takes on the style apparent within this release and the compositional arc, but with a more mysterious and slightly hijaz-esque scale embedded into the melodic bursts. There is a lot of tension, almost as if this track was meant to be for a score. I do notice the nature of the strings used can venture into ‘easily MIDI’ territory instead of organic sounding strings, but in a very Klaus Nomi campy way it actually works. This track truly reminds me of German aestheticism and the darkness behind it. The fifth track comes in cleanly, purer than the other ones, but bearing more tones of John Cage and Stockhausen. It’s organic, but also very experimental and cerebral, reminiscent of emerging cybernetic biological systems against the scape of moving sums and parts within living entities.

There is no boring element within this album, as it oscillates through so many different compositional aims- the sixth track takes on a Fantasia-esque neoclassical vibe, while still retaining elements of electronic experimentalism. It’s unique, but also familiar at the same time, reminding me also of certain pieces written around the dawn of electronic music- chromatic, dissonant, but also delightful and eclectic. The high notes and all-encompassing nature of this track takes over your consciousness and then draws out to the seventh track, alluding to the abyss. One thing I definitely realise within the scope of this album is that the artist is extremely versatile and has a knack for creating various soundscapes with true authenticity. Not the notion of authenticity, not the musicology of authenticity, but truly understanding a concept and sonically mapping it out. That’s how I feel listening to this track, as the effects used and the notes chosen take you down deeper truly into an auditory abyss, with the panning done just right to simulate the feel with alive elements floating through.

The eight track comes in with a totally different feel, with an ‘organic’ instrumentative base and specific percussion. It’s funky, but also reminds me of some Ethiopian funk mixed with electronic music that captures the late 60s and the rest of the 70s. It does have a nostalgic feel to it, but I find this track so compositionally interesting and fulfilling that it can’t just be pigeonholed into a time track. The experimentation element is done so sparsely and tastefully within this track that I think it’s fascinating, alongside instruments like horns, a clavichord and the classic Rhodes. The ninth track then takes you back to the compositional motif of the fifth track, this time with a colder feeling. The recurrent patterns of notes within this track truly makes me think and is very eerily compelling even with its sparse elements. The tenth track, once again, switches itself up with a bit more of a militaristic Bolero feel. It’s classical and sonically ‘unfolds’ with many counterpoints, and truly builds up in the duration of the track.

The eleventh track on the album then comes in stronger with the existential, technological and militaristically urgent motif, this time with a lot more intensity and urgency behind its intent. Finally, the album concludes with a track that I think mixes a bit of old space age music with a triumphant feel to it, with motifs of what I feel like is classic R&B, weirdly enough. It does match, in its own uniquely terrifying way. The only critique I have is the sound design, as I think some of the quality of the ‘organic’-esque instruments within the track such as the horn sound too dated and MIDI-esque. Otherwise, an extremely fascinating track to take your mind on a mental trip.

All in all, the experimental and expansive nature of this release is certainly very fascinating. It’s hard to say that this album can be ‘recommended’, or listened to, rather, I think this album should be dissected and analysed for more than one listen if you’re really into music. There’s a lot of techniques and room for interpretation, it comes off almost like a thick, delectable book that one would highlight over and over again and never get bored of. It’s like a lot of John Cage’s work, really, you can’t just ‘listen’ to this album. You need to take time out to appreciate it in its entirety. And also, don’t get me started on the limitations of logocentrism- words to describe this will not do this work justice. You need to experience it.

SCORE /Excellent to Outstanding – Estirpe is an album that honestly goes beyond the conventional definition of what it means to have an album. It really comes off as an all-encompassing, engaging treatise of music composition that if you have the right ear and time for it, will be the thing for you to sit down and truly digest. It’s filled with a very, very high level of innovative ideas and motivic variation as well as sonic textures.

If you liked this, you can check out berekeke’s Official Website for more information