Fernando Corona's long-awaited third album as Murcof marks a dramatic departure from previous works. Truly monumental in scale, Cosmos is composed almost entirely of recordings of classical instruments, a process which Cor... more »ona describes as "expanding the possibilities of acoustic instruments through electronics." It's a move away from the micro-programmed sound he helped to pioneer, and his seamless integration of these apparently opposed forms is almost unprecedented.
These new recordings were inspired by a very simple motion, the act of tilting the head towards the skies, or as Corona puts it: "Cosmos basically comes from that state of wonder and mystery and joy and humbling that you get when you let your mind wander freely on a starry night, away from the contamination of city lights. From the realization that there's an infinite universe outside the man-made world and how silly this latter one seems in comparison."
Originally intended as an EP, the early Cosmos tracks were so mesmerizing that those around Corona encouraged him to make it a full-length. His past approach involved mixing disembodied orchestral passages amidst microbeats, letting a song shift and mutate in a minimal environment. With Cosmos, he has progressed towards a more sophisticated compositional mode. The immensity of tracks like the monolithic twins 'Cosmos I' and 'Cosmos II' draw to mind the work of the German electronic pioneers of the '70s or the Hungarian composer Gyorgy Ligeti as much as the visceral, low-end rumblings of SunnO))) or Coil. Murcof's compositions have always been as much about the absence of sound as what you actually hear, and these techniques are further refined here.« less
Fernando Corona's long-awaited third album as Murcof marks a dramatic departure from previous works. Truly monumental in scale, Cosmos is composed almost entirely of recordings of classical instruments, a process which Corona describes as "expanding the possibilities of acoustic instruments through electronics." It's a move away from the micro-programmed sound he helped to pioneer, and his seamless integration of these apparently opposed forms is almost unprecedented.
These new recordings were inspired by a very simple motion, the act of tilting the head towards the skies, or as Corona puts it: "Cosmos basically comes from that state of wonder and mystery and joy and humbling that you get when you let your mind wander freely on a starry night, away from the contamination of city lights. From the realization that there's an infinite universe outside the man-made world and how silly this latter one seems in comparison."
Originally intended as an EP, the early Cosmos tracks were so mesmerizing that those around Corona encouraged him to make it a full-length. His past approach involved mixing disembodied orchestral passages amidst microbeats, letting a song shift and mutate in a minimal environment. With Cosmos, he has progressed towards a more sophisticated compositional mode. The immensity of tracks like the monolithic twins 'Cosmos I' and 'Cosmos II' draw to mind the work of the German electronic pioneers of the '70s or the Hungarian composer Gyorgy Ligeti as much as the visceral, low-end rumblings of SunnO))) or Coil. Murcof's compositions have always been as much about the absence of sound as what you actually hear, and these techniques are further refined here.
"If you like your ambient intimate and soothing, don't buy this album. If you prefer soundscapes and aural journeys, you might give it a try. But if you do, you may be disappointed.
Until now, Murcof albums were always multi-purpose - you could give them your full attention, and be deeply gratified in doing so, or you could let your mind wander and drift into a state of relaxation. That latter option is out the window with Cosmos. Right from the start, a virtuoso mixture of electronics and classical instruments (mostly strings & winds, but there's also, I kid you not, a church organ) takes you for a haunting and very convincing trip through, well, the cosmos - aboard a big old rambling space-ship with humming machinery, creaky sliding doors, cloinky loading docks, and the occasional bang that would scare the crap outta me if I were an astronaut.
If you listen to this thing with headphones on, and you really should, the complexity and depth of Murcof's 'orchestration' will astound you. The album lacks the melodiousness of Remembranza, but it's never just noise without music - however weird the sounds get, they remain tonal in nature. And the production of this disc takes ambient to an new level of sophistication.
But the snag is, once you've heard it, you're pretty much done with it. After giving the disc its second spin, I had to conclude that one would have been enough. I don't expect to play it again. Ever. The sounds on offer may be musical in essence, but the music lacks substance, and with the productional surprises gone, there's nothing left to keep me interested. Making the trip again would make me feel like a commuter rather than a traveler. Not a feeling worth having, is it?"
Headphone Commute Review
Headphone Commute | 09/27/2007
(5 out of 5 stars)
"Murcof - Cosmos (Leaf, Oct 2007)
Murillo Corona Fernando permanently redefines the characteristics of a modern classical composition with a celestial symphony that is unlike anything that has ever been heard before. As part of a series named after each letter in his alias, the fourth movement (with only two more remaining) is Corona's most ambitious and monumental contribution to the Leaf label. In prior albums, this Mexican producer (now residing in Barcelona), introduced a minimalist approach to micro-programmed, sample-based electronica incorporating orchestral and classical instruments accompanied by pulsing, glitchy and straight solid beats. In Cosmos, however, Corona expands on the universe of sound with infinite flow of energy generated through the Big Bang. Showcasing NASA's Atmospheric Entry Simulator on the cover, Corona foreshadows the mood for this inter-dimensional travel. The best approach to experience our state of being is to stretch outwards and gaze into the countless stars. Or you can close your eyes and let Corona infuse your imagination with the soundtrack for Harmony of the Spheres."
Amazing electro-symphonic atmospheres
Christoph D. Coleman | Denver, CO USA | 10/04/2007
(5 out of 5 stars)
"This new release by Murcof is not only a stunning evolution is his work, but at this price is a STEAL!!!! Similar to work on K2 records, with way more atmosphere. Reminiscent of Twine, or a sparse, darker BOC. For appreciators of Fennez, Burial, Pan-American."
Judge by the high points
Derek L. Kaplan | Vancouver, BC | 02/19/2008
(4 out of 5 stars)
"for me this album is 3 tracks -- the run from Cosmos I through Cometa to Cosmos II. this wouldn't seem a great success rate, but those three alone are well worth the price of admission. the most critical point that has to be made about this music is the importance of the means by which you listen to it. if you cram it into an MP3 and listen on earbuds, you'll likely be left wondering why you would ever go there again. he's playing with a level composition and quality of sound design that needs proper representation. headphones may be great, haven't tried it, but if you have access to a good sound system and an opportunity for sufficient volume -- this stuff is magic. If Cosmos II isn't a quasi-religious experience, try finding a better stereo to hear it on."
Track Listings (6) - Disc #1
