These two artists spent time collecting a pool of sounds together before individually exploring their own direction with them. The album title, Ekkert Nafn, is a mash-up of two Icelandic words that effectively translate as â€œno nameâ€, and this abstract, mysterious title is certainly fitting for the release here on the Cronica label.
Francisco LÃ³pez contributes an extended, 31 minute piece that bristles with energy from the get-go. This track, to my ears, is a bit of a departure for LÃ³pez, whose work often hovers just above the possibilities of perception. Untitled #351 is a sonically rich tapestry of processed field recordings, woven together in such a way that sounds whizz and whirl in abundance. This slightly cacophonous introduction lasts for 5 minutes before we enter more familiar LÃ³pez territory. As the energy abruptly cuts out and we are left with silence, save for some microscopic pin pricks of audio. Barely perceptible is a low frequency rumble, only heard if the listener turns up the volume. But of course thereâ€™s the fear that a louder sound might suddenly burst out from the speakersâ€¦ and it does! Rasping, ragged digital detritus begins to sparkle and fizz across the stereo spread, and the whole track comes to life again. Personally, I found this extremely satisfying, like LÃ³pez was really letting go and pushing the sonic boundaries. Again, a silence encroaches at the trackâ€™s midway point, and this to-ing and fro-ing between the loud and the quiet is effective in keeping the listenerâ€™s attention, and serves as a precarious balance.
ApplainessadsÂ byÂ Miguel A. GarcÃaÂ also begins his piece with hard sounds.Â There are more bass tones and speaker shaking low frequencies present here that