CD, Lovethechaos, 2010
In over three years, the time that passed between the release of Strange2’s first album and this new one, many changes can happen in one’s life and indeed did to David Jornet – among them moving to live in another country and being lead singer in the Spanish alternative band Anorak.
The changes and formative experiences certainly seem to have contributed to the shaping of the new album which, aptly titled “Ciclos”, feels somewhat personal, almost as if it was a way for the artist to look back and close a chapter of his life before moving on. It is no wonder then that, despite being a coherent body of work, “Ciclos” simultaneously feels somewhat scattered – not unlike the effect achieved by observing the world with a broken mirror or assembling a new reality through a kaleidoscope. The departure point for “Ciclos” can be described as IDM but it quickly develops into something more fluid, a collection of relaxed explorations with greater emphasis on melodic component and less abstractionism. In a way, the album shows a new facet of Strange2, one who does not hesitate to deviate from the expected in a path of relaxed and introspective exploration through electronic music.
Similarly to the previous album, there is one piece, “Arte Y Espectador”, revolving around samples of spoken word by a famous artist, this time Marcel Duchamp’s “The Creative Act”. In composition terms, this meditation on the meaning of art, which may well be one of the album highlights and, along with the closing “Decadence”, is somewhat reminiscent of Alan Wilder’s early Recoil work. Other notable pieces include “Imágenes de Postales” and “Hotel de ses rêves” as well as “Jemmapes” with hints of hip-hop through a breakcore looking glass.
Easily accessible “Ciclos” is well worth of discovering, whether or not IDM and its derivatives are among one’s favourite music styles. With this album, Strange2 managed to produce a rather engaging album – one which has the potential to be truly imersive and, hopefully, to stand the test of time.
— Miguel de Sousa