Trayectorias en coma is Mandelbrot’s first work, a restless musician from Granada who, among other things, has collaborated in the paramusical project Máquina Líquida where he has created a sonic background to the verses of the poet Rubén Martín. He also released his first recordings under the title of Demos in 2011. After a few years working in this ambitious work, the debut of Mandelbrot has finally been released a few weeks ago: a very varied and extremely complex album, with lyrics in Spanish that are worth of your attention (and Google translate). You can listen and buy it here.
Trayectorias en coma starts with a word: Invisigoth, said by a friend of the artist, who died ten years ago and to whom these first two songs are dedicated. This word sounds repeatedly during “Alfa,” like an echo from the past. A beginning marked by an ending, a path that seemed eternal, but, without any notice, it turns out to be ephemeral. Musically, it reminds me of some works by Nicolas Jaar and the musician himself acknowledges the influence of the Darkside album that the Chilean artist recorded in 2013. “Más Fácil,” continues with the thematic of the previous song, and using recited verses and a 2-step rhythm tells us how to live with your loss. The last part reminds me, because of the way of singing, of Corcobado, although I don’t think he has influenced Mandelbrot.
In the next track “Todo siempre eterno,” we can find some industrial influences, mainly of Coil and Nine Inch Nails, especially in the powerful chorus that gains intensity thanks to the softness of the verses. Regarding the lyrics, we find in the last part some references to T. S. Elliot’s The Hollow Men. The industrial influence continues in the next song, “La primera Ley,” although after some seconds we realize that trip hop is going to be the main style of the track. Mandelbrot dares to rap his most furious lyrics that contrasts with the sweet voice of Cristina Carrión.
“Potencial de Reposo” is an instrumental that works as a break after the lyrical intensity of the two previous songs. “Habitante X sub-i” continues the atmosphere of the previous song but adding some elegance, maybe coming from the influence of Talk Talk. The intensity grows with “El remedio”: post-rock somewhere between Sigur Rós y Massive Attack in which the feminine voice and the industrial influences are back. For “Versión interna,” Mandelbrot has used elements from his past to create one of the most interesting electronic tracks of the album. “La cuarta palabra,” the longest song, is a critic of the religious thinking, where the percussion gets in the spotlight, giving a funky and industrial vibe. The title of the last track, “Todo siempre efímero” kind of complements the fourth one and at the same time says goodbye whispering.
If you buy the digital download available on BandCamp, together with a beautiful artwork, you will also get the song “Invisigoth”, an amateur recording done by the musician with his late friend and that forms the first piece of this puzzle of feelings called Trayectorias en coma.