Gentle electric guitar flutters in conversation with yearning viola, poignant vocals, and the delicate percussion rhythms in Francisco del Pino’s seven-movement song cycle Decir (to say). The Argentine composer, who is currently a doctoral fellow at Princeton University, teamed up with Argentine poet Victoria Cóccaro for pieces that explore the metaphorical and physical meaning of territory, featuring song titles such as “El agua” (the water) and “La Piedra” (the stone).
The music weaves together folk, rock, and classical traditions into a sonic tapestry of nostalgic longing. Standout track “El Campo” (the country), whose arpeggiated guitar plucks, reminiscent of Radiohead’s “Weird Fishes/Arpeggi,” blend gentle rock with dramatic vocals. “El viento” (the wind), another compelling track, allows sweet and flowing melodies to gently repeat in poignant harmony. These lush, slowed-down atmospheres paint a sprawling picture of a pastoral landscape.
Most of the tracks on Decir occupy a similar, sonic space made of heavy-handed drama and nostalgia, which can become monotonous, despite its often-enrapturing style. “El Agua,” for example, slogs in its leisurely, cooing folk sound. But with the onset of “Las voces” (“the voices”), newfound airy electronics create a hazy atmosphere that feels like an unforgettable memory, driving us home to del Pino’s misty vision of distant pastures.
Vanessa Ague is a violinist and music writer currently studying Arts and Culture Journalism at the Craig Newmark Graduate School of Journalism at CUNY. She runs the experimental music blog theroadtosound.com, and her writing has appeared in The Wire, Pitchfork, Bandcamp Daily, and Tone Glow.