Madrid-based electroacoustic producer, composer and sound artist Edith Alonso has spent the last twelve years releasing compositions on labels including Asociación de Música Electroacústica de España, and three years on from her debut album ‘Collapse’ on Aural Terrains this follow-up ‘Χώρα’ (‘Khora’) sees her crafting a collection that has calm and turmoil lurking equally at its heart.
The predominant theme throughout the six tracks gathered here leans towards darkly-tinged ambience, with Alonso using a comparatively stripped-down collection of analogue and digital synths to generate immersive and often claustrophobic soundscapes.
Opening track ‘Qui mérite l’éternité?’ certainly sends chills down the spine from the very outset as deep sub-bass drops slowly ebb and swell like prowling beasts beneath layers of eerily humming treated harmonies and dubbed-out crashes, the funereal atmosphere that’s generated calling to mind one of Lustmord’s crypt-like explorations in infrasound.
After this forbidding opening, ‘Nadie te espera’ takes things into seemingly brighter waters with its glittering ambient intro of slowly cycling synth sequences, but it soon proves to be a false dawn as the distorted electronics build into a rush of noise and zapping effects that suddenly dies away, only to be replaced by graceful church-like drones.
Elsewhere, ‘Sueños en el mar’ opts for a different trajectory, its opening ambient section of darkwave synths and dripping noises giving way to a skyscraping rush of distorted shoegazer textures that alternately bleed forth and then caustically decay away, in what’s easily this album’s most widescreen offering, before ‘Tears For Somebody’ unfurls perhaps its most gentle composition as treated piano keys flicker and spark against the slow background crawl of swelling feedback, as things seem to drift down into a gauzy sense of slow motion. It’s indicative of this consistently strong album, which offers numerous opportunities to hold the listener spellbound.