Lorelle Meets The Obsolete has returned with their sixth album, Datura. This two-piece group from Baja California, Mexico has been very active on the scene for 10 years. With such a large catalog of songs, the band has gone back to their old music, applying new arrangements, different instruments, and new production techniques. Always looking forward, this reworking of old material inspired the group to take a bold new direction to keep things new and exciting. This approach is heard all over Datura, as the band embraces a more experimental, stripped down production technique. The album was recorded at their home studio, but mixed by Jace Lasek of The Besnard Lakes and mastered in Australia by Mikey Young of Eddy Current Suppression Ring and Total Control. There is an experimental minimalism on these eight tracks, with a raw sound captured in the studio that is spread across the album, as all the songs can be seen as being cut from the same mold. As a four-piece band in the studio, they only recorded what they were able to capture live, without the use of endless layers of overdubs. Many of the tracks are very bass heavy, rumbling along through glitch synth landscapes, with a synth punk feel of early Gary Numan on his Tubeway Army album. This applied limitation in the studio gave way to lots of innovation, having the songs sound unfiltered, and easy to replicate for a live audience. Singer Lorena Quintanilla uses this raw energetic music as a base for her intense emotional Spanish lyrics, covering themes from colonialism to aspects of the dream world. The album has a big aggressive sound while maintaining its experimental art feel.
The title track “Datura” is the synth glitch opener with minimal drums, leading way to the bass-heavy synth drone of “Invisible,” which has some guitar work reminiscent or Primal Scream’s XTRMNTR album with guitar feedback tremolo. “Dinamo” features reverb heavy vocals surrounded by computer arpeggiators out of control. Tracks like “Golpe Blanco” and “Ave en Reversa” have driving drums with long bits of synth overload and feedback, but with the driving drum beat grooves associated with some Krautrock bands such as can.
Lorelle Meets The Obsolete: