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Diari s​ò​nic 2021​-​22

by Murcia Parker

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2021.07.13 00:50
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about

The lost and recaptured sounds

Why Sebastià Mesquida has broken off from his guitar in order to shape his solo debut is something I can not comprehend, and surely he only has the answer to this question. I can only dare guess, but maybe the explanation is simpler: “adapt or perish” is way more than a catchy jingle.

When many of us didn’t know what a reverb or a delay effect were intended for, he already had achieved mastery along with Poal, one of the first post-rock bands in the Balearic Islands. And perhaps in the country? Maybe that’s being excessive but, the thing is, they belonged to a first generation of brave and curious kids exploring the borders of the genre before the label itself ended up a cliché. Barely acclaimed, time should prove right their Sensibilitat Angular (2006), an album that sounded completely different to what had been done in Mallorca at the time. The band was ephemeral but Mesquida’s artistic bond with Miquel Moll aka Mikrophone —another musician with tremendous skills— persisted with Ex (2008) and 2½ (2013), two pieces of work signed by Poal in which the grounds of rock dissolve in a magma of electronic, ambient and avantgarde sounds.

A neat and precise guitarist who knows how to coexist among performative simplicity and compositional imagination managed to redefine Poomse’s sound since his addition to the band in 2013. His contribution to Llorenç Rosselló’s group was key to bringing the new songs more depth and atmosphere; a constant sprout of ideas and textures that make Poomse Versus the Kingdom of Death (2014), This is how we fail (2016) and Extinció, etc. (2021) some of the most interesting albums created in Mallorca in the last few years. Word.

It is the time now to add Murcia Parker to his artistic resume. A solo project that allows him to grow in new directions. The EP Diari sònic (2022) is a statement itself: a little more than fifteen songs that last about twenty minutes altogether. Songs? Maybe “sketch” is a more accurate word to be true to its core. Devoid of defined structures, they concentrate their main essence in an electronic sigh which lasts a bunch of seconds. Like a quick note on a diary or a captured thought on a logbook, Mesquida shares with us the scribbles of his creative drive and his commitment to risk. The expressiveness achieved with his music shouldn’t be little different from that accomplished by other great sound explorers, like Manuel Göttsching, the late Klaus Schulze, and other members of the German school; those who understood kraut was somenthing more than a motorik rhythm. Perhaps digging into Diari sònic, some invisible threads linking Murcia Parker with the specific times of Steve Reich or Costance Demby can be found. The high capacity for evocation —and expression— of this small sonic diary pushes the listener into the OST of an unreal documentary, the one about a dreary metropolis empty of people and full of lost sounds, now recaptured. I like to think that the film credits run through the screen while someone by my side is saying: “The best is about to happen”.

Tomeu Canyelles
Translation: Luz Lorente

credits

released November 17, 2022

These sonic diary entries have been recorded between July 13th, 2021 and July 3rd, 2022 in Santa Maria del Camí and Alaró towns. All are multitrack live recordings with no overdubs and no further processing beyond some reverb added in post-production.

Music written and performed by Sebastià Mesquida.

Mixed by Guillem Duran.

Mastered by Nathan Moody at Obsidian Sound.

Cover photo courtesy of Lenz Family.

Released by Espora Records

A la meva estimada Beleta.

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Murcia Parker Santa Maria Del Camí, Spain

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