Francisco López is an explorer of the material world by way of the tiny sound waves that resonate from it. His explorations are sketches of worlds unseen, described in aural depictions. Since the mid-1980s, he has developed over two hundred pieces of avant-garde music to represent everything from European sprawl to strange deep-sea organic manifestations. In a similar, umbrella-like domain, the work of Jorge Reyes is structured around synthesis. While in 1986 López released Lysiosquilla Gaussia B–a study of primordial aquatic life–Reyes was merging pre-Columbian Mexican sounds with the synth-heavy Latin music of A la Izquierda del Colibrí and the cold, ambient constructions of Comala. In 1990, these two artists–the Spanish López and Mexican Reyes–met in a studio in Madrid to collaborate on a piece forty minutes in length. This meeting of perspectives was entitled Tlaloc, after the Aztec deity of water, rain, and caves. It was released the following year on Toracic Tapes and Obuh Records.
Twelve years after its original release, the session was re-edited and reprinted by Ruido Horrible in memory of Reyes who passed away in 2009. This remastered version of Tlaloc is thirty minutes in length, but loses no mystique of the original meeting. Once again, wet and esoteric textures bubble from this CD. Shakers and turtle shells from Reyes are immediately backed by thick, submerged thuds of industrial electronics from López, giving the impression of a watery cave awoken by the pounding of a distant construction site. Back-masked musique concrète and ancient flutes build a dichotomy of realities. López mixes into each atmospheric layer of the biome, like slowly analyzing chunks of sediment as Reyes brings the fossilized beings back to life.
The piece sees a plethora of indigenous instruments used by Reyes including a rainstick, goat hooves, seeds, pitchers, whistles, and drums. Reyes’ ecosystem of sound is manipulated and devoured, reprocessed and echoed by López in a parabolic match between erratic, organic, patient, and constant synthetic sounds. Thus, this piece ranges from crushing ambient electronics to excited and human arrhythmia. The track is divided into tempos and images led by Reyes’ percussion. Slow and trance-like in some portions, his drumming becomes erratic and spattered by horns and loose items, dropped and collected. In each minute of the record is a depth echo and overtone of water.
In this reissuing of Tlaloc, a study of ecologies in threat from stubborn mechanical process resurfaces. This Ruido Horrible pressing is a tribute to the bountiful work of Reyes. Furthermore, it reflects a respect for the hidden living and once-living world which both musicians sought to create in Madrid many years ago. Tlaloc is a reconstruction and an experiment, crafting a long-lost world in a modern, mystical setting.