Review: Le geneS – Por Fin, la Marmota Accedió a Mutarse (Plus Timbre, Jun 2)

Though Por Fin, la Marmota Accedió a Mutarse was created through the collective trio improvisations of Jose María Pastor, David Ramos, and J.G. Entonado, a combination that already allows for unhindered spontaneity and musical freedom, the album somehow feels even more flexible than simply the freeform conversations of three musicians. “Estrella del Pop” establishes this feeling of limitlessness right away; an industrial-strength drone like the whir of some giant metal fan tears into existence, yet its strength is tempered by unpredictable pauses and a playful coda departure, whose suddenness signifies that no element is sacred. Using a veritable arsenal of modified instruments, custom-built devices, and their own bodies, Le geneS embarks on a tottering stumble through the endless possibilities of the musicians’ sonic chemistry, the results ranging from the whimsical call-and-response flutters that one might expect from a trio affair to the nightmarish vocal experiments of “El Cura de Mi Parroquia Es Ciego” and decaying, ersatz electronics of the nine minute epic “El Lenguaje Estrujado del Embalaje Deshecho.” Eclectic as it is, Por Fin… keeps itself from falling apart with the ever-present drum work of Pastor, who maintains a distinct style while always interacting with the various absurdities thrown his way.