sueno latino

April 21, 2008

“I like this track” seems a little weak next to what this Discogs fan has to say:

I sincerely don’t know how to describe the full extension of this re-work greatness. First of all, it’s a lesson of harmonic mastery, from the synthesizer chords pad variations to the simulated flute notes and the distorted ethereal hi-hats. This ultra-dense musical aura has a special combination of rhythmic piano lines of different kinds, beautiful synth pads (from three basic notes to multi-chord environments), the original piano sequence of M. Gottsching’ s “E2-E4”, sensual percussion with distorted snares, hi-hats & effects and simulated transversal flute lines, giving the Latin Dream atmosphere, and blending the futuristic-unique surrounding with the Balearic.

and there’s more…much more…

The notion of Tempo seems perfect: every instant, Mayday knows which synth line must prevail on the ensemble, and raises slowly its volume, just like on an epic story, without disturbing the holistic harmony.
Everything is so instigating, so swinging, and at the same time so dense, soulful, fulfilling, so mellow. The amazingly-built rhythmic pianos, so hard to find nowadays, delights us without warning: one more syncopated, tense and rhythmic, while the other goes far more balanced-driven, emotional, based on exceptional timbres and on a sustaining bass note. The Latin Dream is now more Technological and at the same time, human.
The results of it, every timbre, every detail is so well synchronized that it takes us some time for us to notice the nature of each element. An incredible progression between the synth lines melted with the rhythm elements progresses on the first part until a point where you’ll feel totally without parameters, enchanted by the soundwaves. Your only desire will be hear it forever. The synchronism between the different sounds is much more than you can expect, and there are moments when four to five synth lines dialogue between them simultaneously with delicateness, exploiting the principles of melody, harmony and balance.
Then comes the drop out, the Balearic bird sounds cheers us with the bongos, and the come back swirls on another magnificent evolution culminating in a clash between May’s two main rhythmic piano lines, with a little more emphasis on the sophisticated balance of the elegant one.
Derrick May’s mix for “Sueno Latino” is phenomenal example of a third generation genius artwork (Manuel Göttsching, Sueno Latino, Mayday to mention all of them), honoring man’s eternal seach for self-surprise. It really makes us wonder why can’t the current average electronic producers vislumbrate any further and create bolder conceptions for their music – such as different rhythmic functions for the instrument lines, more inspiring chords or challenging combinations between them.

Even though we sometimes won’t be able to define precisely the nature of an ahead-of-our-time composition, the result spread from a complex ensemble of accurate feeling indicates the presence of Soul. It doesn’t have a rule, or definition for it. It can be hypnotic, funky, atmospheric, groovy, minimal, or whatever label you can imagine, and it can count on more or less sequenced lines – but it certainly has to be human, made with a burning desire, for the Soul is always behind ART.

Sueno Latino - Sueno Latino (May Day Mix)

Filed under: music from the 80s |