The definitive pop alternative. A review on Marina Herlop´s "Nekkuja"
- by Martín Cacho
- in Reviews
The next year is just two steps away, and I doubt I'll encounter another album in the remaining time that surprises and captivates me as much as Marina Herlop's new album. Undoubtedly, she ranks among the most talented "pop" singers and composers of the last decade.
The experimental music scene boasts numerous intriguing and noteworthy figures, including Ikue Mori, Otomo Yoshihide, previously reviewed Call Super, and many others. Additionally, within the pop realm, there are artists striving to differentiate themselves from the over-compressed, loud songs ubiquitous in the industry. Lana Del Rey and Billie Eilish serve as well-known examples.
Marina Herlop stands out as an excellent proposition in both the experimental scene and the pop industry. Her style, techniques, and compositional approach challenge many aspects of musical composition. She adeptly employs various virtuoso writing techniques drawn from contemporary classical music, electronic music, and the experimental techniques typical of a Tzadik label recording. However, she blends these elements within the characteristic formal mold that has shaped pop songs over the last decade.
Another classical composer, Dai Fujikura, certainly among the greatest living classical composers of our era, is also exploring this fusion, yet I believe Marina possesses a deeper understanding of the musical languages prevalent in the pop scene. She achieves a particular sense of drama and climax that fits seamlessly into the pop format.
Let's dive into the album and explore what it holds.
The album apertures with the song "Busa", which features an intriguing ostinato composed of two different chained motifs that are in constant communication with each other. Each of these complementary motifs presents two distinct irregular rhythms, making it challenging to determine the song's meter. The song progresses without introducing any instruments that could serve as a rhythmic guide for the listener.
This lack of guidance might be disorienting for those trying to "read the rhythm." However, the asymmetry in length and the sense of extension and distension in those ascending strings of sounds achieve a sense of organic/biological movement, akin to the opening and closing of a flower or the movement of a spiderweb dancing with the air.
The subsequent songs, "Cosset" and "Karada," alleviate the necessity for metric consistency as they begin with a very clear 4/4 meter. Nevertheless, the rhythm remains intricate, incorporating polyrhythmic phrases, syncopation, and irregular rhythmic figures.
In fact, many of the songs adhere to the 4/4 metric, aligning with much of today's pop music. However, this album showcases the flexibility of 4/4 and the unlimited possibilities of rhythm and beautiful sonic experiences it can express.
Setting aside the rhythmic complexity, another compelling aspect of the album is Herlop's use of string instruments. She employs rapid-paced phrases reminiscent of dulcimer-like instruments, which can be perceived as arpeggios but also as fast-paced motifs and themes with beautiful, pointed crystal shapes, much like raw quartz discovered in a cave.
Beyond the captivating string instrument compositions, Marina adds intrigue through constant utilization of tremolos, portamentos between the string instruments and synthesizers, and even the incorporation of reversed string audio, the attack silenced at the end, this to artificially elongate the duration of chords and notes.
Amidst this rhythmic complexity and rapid arpeggios, the music is driven by exotic vocal harmonies and melodies. Marina sings in her native Catalan, a language that, as a Spanish speaker, sounds both familiar and simultaneously mysterious and mystical.
I encourage everyone to listen to the album at least twice; the songs contain multiple layers and elements that invite repeated exploration. With each listen, you'll discover an entirely new sonic experience until your ears become attuned to understand Marina Herlop's fascinating musical language.
