• Mecanica Popular ‎– ¿Qué Sucede Con El Tiempo?
  • Mecanica Popular ‎– ¿Qué Sucede Con El Tiempo?

Mecanica Popular ‎– ¿Qué Sucede Con El Tiempo?

Wah Wah Records Supersonic Sounds

Regular price
Cult cosmic early industrial LP,  heavy under the weight of praise from those in the know like Demdike Stare / Finders Keepers Records (who unearthed it previously on their Dead Cert label).

¿Qué Sucede's a masterpiece of free-form new wave dance muzak; assembled via primeval tape loops into a sampledelic industrial clatter, like the most evil anti-melodic parts of Cabaret Voltaire / Throbbing Gristle - sound sources are pummeled into a hellish orchestra of wind-up toys, wavy synths and oddly danceable beats. 

It's the perfect collission between Bourbonese Qualk and the kosmische world vision of Eno&Cluster. Probably closest to the proto-techno-tropical phunk of Randomize (aka Eugenio Muñoz, who's half of Mechanica), painstakingly made with razorblades and tape and a pile of pre-sampler gear.

Comes served in a 4 page booklet with liner notes and mental die-cut artwork that needs to be handled to be appreciated.

For Fans Of: That baffling He Dark Age LP we have back in stock(!), Factrix, Cybotron, Jon Hassel, Dome etc. but sounds like nothing else really 

... And the label would like to add this:
"A cultishly coveted slab of freeform new wave dance/tape music from 1984 Madrid, Spain.

Notable not only for including Beppe Loda’s Typhoon favourite, La Edad Del Bronce – which sounds uncannily like a cut from Craig Leon’s Nommos – this album also features the beguiling concrète funk of ‘Galilea: Centro De Datos’, which, by any measure bears a striking, prototypical resemblance to Photek’s Ni – Ten – Ichi – Ryu and has become something of an oft-asked about staple in DeadCert’s polysemous, polymetric DJ sets.

Founded in 1978, Mecánica Popular was the brainchild of Luis Delgado (also a member of Finis Africae) and Eugenio Muñoz, conceived and nurtured during after-hours sessions in Madrid’s RCA studios exclusively using tape loops only – no samples involved.

They did however, use an innovative set-up including a Polaroid 600 camera, an Eventide H910 Harmonizer, and the Arp Odyssey, all fed thru a matrix of FX, to make a wonky, clanking sound that could be happily compared with the output of Conrad Schnitzler, Chris Carter, Jon Hassell, or Kerry Leimer during that fertile early ’80s era."

There you have it!

Impresionistas 1

La Edad Del Bronce

Impresionistas 2

Quiero Irme

Quiero Irme

Siempre Tu

Modelos Existentes Estado Solido

Galilea: Centro De Datos




Maquinas Y Procedimientos