De Facto by Lorelle Meets The ObsoleteRelease date: January 11, 2019
Label: Sonic Cathedral
Maybe it’s the peyote, or maybe it’s something much more spiritual, but there is a certain refined hallucinogenic high to De Facto, the new album from Mexican psychedelicists Lorelle Meets The Obsolete. Purveyors of a particular brand of psych steeped in dream pop, garage riffs, and general tripped out weirdness, they create a stunning ambience throughout their music which provides a remarkable displacement quality.
Multi-instrumentalists Lorena Quintanilla (Lorelle) and Alberto Gonzalez (The Obsolete) are joined by Andrea Davi (drums), Fernando Nuti (bass), and Jose Orozco Mora (synths/organ) on an album which is a hypnotically charged dream-pop adventure, which stands tall amongst their previous albums as a stand-out in an already exemplary career. Not that this kind of musical journey should ever be considered career. It’s much more of a lifestyle.
Wasting no time in getting down to the weirdness, opener ‘Ana’ practically floats in out of the ether. A mesmerising, entrancing start, the fading vocals offer no chance of grasping on to an anchor. Instead, you are left to float and hope. At least until ‘Lineas En Hojas’ builds out of its skeletal drum loop into a glorious synth led pop song. Awash with synths, it really is a beautiful moment.
The spaghetti western lilt of ‘Accion – Vaciar’ pays homage to the bands roots, and its playful mysteriousness winds its way into ever darker crevices. It’s a trip which leads us to the waves lapping on the beach at the start of ‘Unificado’. This gentle beginning is a false start though, as it builds from a weird, twisted Twin Peaks style torch song into a blistering climax.
There is a wonderful sense of symbiosis throughout De Facto, and although each song as a peculiarly singular fell, they work together as a whole. A defining feature is the washes of synths that meld together to create a beautiful ambience, colouring the often metronomic beats hidden behind the swirls. The vocals act as a colourful spirit, often an afterthought to the psychedelic wonderment. Nowhere is this more clear than on the song bleed from ‘Resistir’, a garage fuelled riff-fest, which dissolves into the ambient ‘El Derrumbe’, a cinematic soundscape of synths.
Leaving us with the triumphantly confident ‘La Maga’, LMTO cut a strident figure on the new psych scene with this quite remarkable album. It’s a piece of work to fall into, and each listen bears further gifts as you poke and prod behind the swirls of cloudy synths. Already cutting a rather singular path through the psych strewn landscape, here they cement themselves as leaders of their own continually evolving space.