The city of Medellin, Colombia does not cease to amaze us for being an incessant talent incubator and linker for all genres. Two of these prodigies, Pablo and Alejandro met in 2007 at university studying music and started making electronic music using a computer, a controller and a guitar. Shortly after, Sara joins in the voices to consolidate a character who likes raw sounds but at the same time is an ally of machines and who’s sound reflects moments of contemplation, noise or can even induce movement of the body; all this accompanied by a female voice that guides the melodic lattices that shape its speech. This character is called Mr. Bleat.
In an exclusive interview, Alejandro comments: “almost always Pablo and I propose a small instrumental passage, a beat, something that has that key moment of the song, and from there Sara begins to provide vocal melodies. Finally we structured the theme and wrote the letter to six hands. We think about a theme and then we build the narration among it”. Their influences beyond being specific musical referents, come from the experiences of each one that, at the moment of expressing them in the form of a song, tends to result in a theme to a certain extent danceable but with a bit of nostalgia or darkness. Mr. Bleat’s latest release, ‘Del Tiempo Perdido’, along with ‘El Buho’, are just the first steps that mark a new path towards what will be a new album. These two singles make part of the sonority that the group reached when creating the album ‘Los Lobos’, a palette of more electronic sounds, synthesizers, rhythm machines and a sensation of dance-able darkness in which we still feel comfortable.
‘La Niña Quantica’ Julián Mayorga, is a perfect example of the enigmatic Colombian producer’s ingenious, surrealist creations. The “cumbia” begins and a continued mantra that spouts: “A la niña le gusta la física cuántica (the girl likes quantum physics)”; unexpectedly, the lyrics also describe the function of the theory of perturbations in quantum mechanics. With such irreverent themes in his writing, this track from his 3-track EP “Nixon en la Playa” uses tropical elements and Andean folklore alongside progressive electronic experimentation and a somewhat black humor, the most characteristic elements of Mayorga’s sound,