JOSÉ LUIS FERNÁNDEZ LEDESMA & MARGARITA BOTELLO: LA PACIENCIA DE JOB

I regard this album as one tremendous JLFL masterpiece: "La Paciencia de Job" is a catalogue of spectral textures and ethereal ambiences, all of them craftily delivered through splendid instrumental settings. The album's overall vibe stands somewhere between the mysterious elaborations of "Al Filo" and the colorful weirdness of "Sol Central", but clearly leaning more toward the former. The use of Precolombine, North African and Eastern percussions and woodwinds helps to build up nameless sonorities through the keyboard layers, guitar adornments and console adjustments helps to build up exotic sonorities - this repertoire stand on the boundaries of wake and sleep, like something partially surreal that makes its way into the grey margins of reality. The subtle, absorbing colors displayed in 'Leyenda' seem to announce the arrival of dawn for our conscience: this piece portrays a strange mixture of somber and candid atmospheres. A very good entry whose spirit is perpetuated and enhanced by 'Naufragio' during its first 5 minutes and its last 2: in between these sections, a piano interlude brings a moment of sheer serenity. 'Jardín de los Senderos' and 'Palabras como Astros' still go on exploring the spirit of limbo that had been so effectively introduced by the first 2 tracks. The latter includes the beautiful chanting by Botello, singing a poem by Vicente Huidobro - in this way, the track acquires an extra touch of solemnity. 'No Te Pude Contestar' sees the first appearance of the drum kit, which bring a pulsational drive to the overall scheme based on exotic cadences - this is not too far away from the implacable standard set by classic Can ("Ege Bamyasi" and "Future Days"). 'Los Jueces del Mundo', the album's first epic, also includes drum kit, but this time things become more explicit, more pompous if you will. This track clearly bears a sinister aura, with the guest violin and soprano sax taking center stage at the track's dramatic peaks. Botello also delivers pertinent vocal lines through the viscerally articulated instrumentation, very much in the vein of Dagmar-era Henry Cow and Art bears. The apocalyptical lyrics are inspired by the Irak war, so it's no wonder that the track's spirit is so full of doom. The dual track 'Vidas Atrás / Noche' is the other epic. It gets started with a series of layer set on tribal mood, with soliloquy sounds and guitar adornments bizarrely processed in a lunatic climate. When the climax arrives, things get really oppressive, and when the aforesaid climax is over, an air of mysterious solemnity arrives incarnated by the combination of keyboard layers, guitar soundscapes and cello washes. The piano emerges to create a special dialogue with the cello, in this way making the solemnity more appalling. 'Donde Nadie' is the shortest track, with a noticeable Arabic inspiration. The dueling violin, sax and female chanting is a main feature in this track. Ultimately, 'Paciencia Infinita' retakes the aura of crepuscular, dreamy ambiences that had been so prominent in the first four tracks. The piano takes center stage at times, occasionally joined by the bassoon, guitar and Botellas' singing. This is not an easy listening album, this is a musical work firmly loyal to the ideals of experimentalism, yet it remains captivating as a creation of magic touch. "La Paciencia de Job" is a jewel ready to be appreciated by true avant-garde music lovers.

First of, I would like to say that I'm fascinated with this incredible artist from Mexico, known also as JLFLQ, that, as expected, I found in PA, thanks to all recommenders! Trying to describe his music generally, it seems that his vision leads to a bland of folk influences, in this case Spanish/Mexican ones, with progressive or art rock attitude. In addition, some avant ideas are added to this tasteful dish.

The main goal in this particular album is to create an atmospheric music, which contains soundscapes and environments, and the result is a journey that the listener supposed to pass through the 70 minuets listening. This impression becomes stronger according to the beautiful pictures that ornament the CD booklet. I guess some of the tracks are illustrations for these pictures.

The spaces, which the listener could find himself in, according to each one imagination, are Mexican hills, beautiful gardens, sky and stars, and subconscious spaces. These associations are activated by the sound and sonorities events.

However, much attention and care are given at the compositions level. These are not just clusters of sounds or vague soundscapes, but do have spine and flesh, whether in the structure, which seem a little bit more tight and coherent than the customary creations of this kind, or the prominent and beautiful melodies, that are always there. Also not neglected is an evident rhythmic approach: beside some 'spacey' compositions, there are also more rhythmic compositions, with intriguing, odd time signatures, and interesting meters that implemented by drums and percussion.

From the development point of view, things are going slow, but that doesn't mean that the development is absent. There are constant changes that occur all the way, mainly in colors and sonic pallet. Instruments and effects are going in and out and there is always something to come, whether a solo played by an unexpected instrument, a background change, or a specific sound that contributes to the overall atmosphere.

The instrument list here is interesting and holds some exotic ones: Folk pipes and reeds, such as ocarina and melodica, some classical instruments such as bassoon and violin, and exotic folk percussion, besides electronic devices and sound, not forgetting 'conventional' instruments such as guitars and keyboard here and there. The whole 'orchestra' is blend together in an organic and beautiful way. In addition, the vocals playing important role here. The dark and beautiful vocals from vocalist Margarita Botello, who sings tunes with, or without words, is something very memorable.

The two more 'song oriented' tracks that comes in the middle of the album are tracks 4 and 6. Track 4, 'Words like stars', ('Palabro como astros'), is a spiritual poem by Vicente Huidobro, sung by Botello accompanied by d-tuned piano, interplay with a Spanish lute. A high register background, done by ocarina, flute, and electronic devices complete this image. Wonderful. Track 6, 'Rulers of the world' ('Los jueces del mundo') is an anti-war song, written by JLFLQ and Botello, participating voices of kids playing, turning to be a military, war voices, plodding drums, and beautiful sax and violin solos. Margarita Botello singing is spectacular, going from childish singing, to shivering lament vocals.

To sum it up, in addition to its musical qualities, this album is a kind of treatment. Needles to say I intend to check out some more JLFLQ albums. In spite of the RIO/avant classification, I believe that this one could appeal to many other listeners, as it seems to touch also in space and atmospheric music in general, Canterbury elements, and perhaps even some post rock attitudes. All is done in a unique style and feeling, evolving folk Spanish/Mexican influences.

Jose Luis Fernandez Ledesma is at the top of the food chain when it comes to Avant-garde music from Mexico. I cannot tell you how talented he is at composing, and playing the many instruments he's mastered. I have five of the ten studio albums he's released, and all are wondrous 4 star recordings that are over my head, but I am fascinated with his music. There's a darkness and mystery about his compositions that might be at it's zenith with this 2006 release.

Chris Cutler the great HENRY COW drummer had this to say about Ledesma's "Sol Centrale" record, and I quote "Densely written, imaginative and beautiful realized with much advanced use of voices, layering of parts and rhythmics juxtaposition, where electronic and acoustic are perfectly mixed. An impressive release." That was for Ledesma's 2000 release "Sol Centrale". This record "La Paciencia De Job" has more in common in my opinion with the 2002 album "Al Filo", and I will list my five favourite albums of his at the end of the review.

First of all the list of instruments that Ledesma plays are as long as my arm. Plus we get nine guests adding various instruments. His musical partner Margarita Botello adds her vocals and keyboards mostly. This is a tough listen just like that record "Al Filo". Experimental soundscapes lead the way, but there's much more to this once you dig deeper. Certainly the short track "No Te Pude Contestar" has a brightness to it that stands out from the other eight tunes.

Still, this is an album that needs my undivided attention in order to appreciate what's going on. This is such a dark recording at times with two of the guests adding bassoon, and Ledesma and Botello both add harmonium. Music like this excites me because there's so much to it beyond the surface. On the other hand it is difficult to digest at times. Very rewarding regardless. Tons of atmosphere as well and at 70 minutes this album requires the patience of Job at times.

I have my five favourite Ledesma cds sitting right here in front of me, and I highly recommend them all. "Motivos Para Perderse", "Sol Centrale", "Al Filo", "Designios" and "La Pacienca De Job". Thanks for all the music Luis! I'm on now to check out another project that he and Margarita are on called SAENA.