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nabo
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nabo The particular combination of instruments and the delicate handling of silence and noise makes it one of the best post-rock albums I've heard. It deserves the time to digest every nuance. Favorite track: Alud II.
Torbina
Torbina thumbnail
Torbina En dedicacion, y por la gloria de su arte, hize esto youtu.be/uqEZkZ0wbsQ Favorite track: Salto.
flightoficarus (Metal Trenches)
flightoficarus (Metal Trenches) thumbnail
flightoficarus (Metal Trenches) ELCO takes a decidedly less metal and perhaps classier approach to instrumental music. Combining layers of various stringed instruments and piano along with reverb-heavy guitars and jazzy bass and drums; each song carries such weight in terms of affective expression. Certain moments might bring one at the right moment to tears. It's like a modern take on The Red Violin with a dash of Dreadnought. Perfect for a peaceful evening of melancholia. -MetalTrenches.com Favorite track: Adonis Minos.
Sly Vredenburg
Sly Vredenburg thumbnail
Sly Vredenburg they went crazy on this one Favorite track: Salto.
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1.
Amoralia 10:01
2.
Adonis Minos 06:18
3.
Salto 16:50
4.
Lehg II 09:26
5.
Alud II 11:47

credits

released July 22, 2016

Julian Mazzeo (bateria)
Francisco José Giordano (guitarra, trompeta)
Martín Valladares (cello, piano)
Esteban González (guitarra)
Franco Paganucci (bajo)

Invitados:
Josefina Barreix (voz en Alud II)

Grabado, mezclado y masterizado por Facundo Agustín Jara en
Afro Recording Studio, Lanús, Buenos Aires, entre diciembre 2015
y julio 2016 
Arte plástico por Edmund Valladares
Diseño por Pedro Caglieri

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"[...] It’s exciting to discover a band so young with such a unique and daring aesthetic."

David Zeidler for Arctic Drones

--

"This is a genuine post-rock tour de force of incidental music only achieved by a fearless few yet El lenguaje como obstáculo also known as ELCO, have defied all odds and delivered in their own unique way on this their debut album titled “I”. [..]
Navigating in waters so deep only a few notable few dare to charter, ELCO have set out on their own terms. [..]
Elco’s through-composition intentionally abandons structure and form. They thread together fleeting emotional score sequences and interludes, somewhat like haikus that end in a post-rock delirium. [...]
It’s different, daring, unpredictable and exciting.
There is just no denying the magnificence that unfolds here on tracks like “Adonis Minos” and “Salto”. These are cello, drums and piano driven pieces that evolve seamlessly from a calm translucent stream into a whirlpool of emotions, where the listener with heightened senses helplessly plunges. Startling picturesque fragments, heart wrenching strings, crazy beautiful melodies and a roaring insane post-rock frenzy that soars through the aether leaving everything in its wake."

Peter Pires for Post-Rock Essentials

--

"Puntaje: 97/100

"No sabemos de donde venimos" reza la descripción en su página de facebook. Y luego de escuchar entero esta obra maestra a cargo de El Lenguaje Como Obstáculo, mejor conocidos como los ELCO, me deja bien en claro que ninguno de nosotros sabe de donde viene. "I" es un disco para escuchar, pero en su totalidad, dedicarle toda la atención que se merece, y tomarse la hora de duración para saborearlo, degustarlo y entregarse por completo a la infinidad de matices presentes y ambientes imaginarios que se crean con tan solo cerrar los ojos. "Amoralia", "Adonis Minos", "Salto", "Lehg II" y "Alud II" juntan miles de requisitos desde el doom rock hasta el jazz, pasando por el soundtrack, las orquestas, el post ambient y un sonido grunge en las guitarras que volvería loco en su mejor expresión a más de uno, en medio de cambios climáticos, y un viaje del cual no sabés si vas a volver. El Lenguaje Como Obstáculo es plenamente instrumental, y se enfrentan completamente hacia el lenguaje, el habla, el grito, ofreciendo todo lo que una voz no puede decir con sonidos. Increíble, simplemente increíble."

Matias Digiano para Your Name In My Throat

--

"Utilizing elements of post-rock for sombre and emotive moments, and elements of post-metal for an intense rush, the debut album I from Argentinian instrumental band El lenguaje como obstáculo (Language As An Obstacle) showcases a strong understanding of various styles, offering a varied album experience that’s constantly shifting and changing. What is presented is a creative album experience, one that utilizes dynamics in a strong manner, without relying too much on building up into noisy crescendos. Certain elements featured on I do indeed echo back to tiresome elements of the post-rock/post-metal genres, but there’s a greater effort at play here, one that shows more thought going into the whole process than most others."

Gareth Watkin for Echoes and Dust

"[..] Each song carries such weight in terms of affective expression. Certain moments might bring one at the right moment to tears. It's like a modern take on The Red Violin with a dash of Dreadnought. Perfect for a peaceful evening of melancholia."

Metal Trenches

"[...] Cinq amis argentins s'entendent autour d'un concept musical « post-moderne » qui n'aura qu'une seule finalité : sillonner doucement les mystérieux méandres de la mélancolie. [...]"

Pascal Culot for Shoot Me Again Magazine

"9.5/10

Доброй ночи, Почта. У меня тут для вас примечательный свежак из Аргентины нашелся. Сразу к делу: примечателен он тем, что динамика в композициях доведена фактически до идеала, субъективно. Первое что отмечу — это изумительные, атмосферные интерлюдии, по звучанию сравнимы с крайне грустной и чувственной современной классикой. Второе — почти в каждой композиции изначальный плавный поток музыки вовсе не предвещает дальнейшей смены настроения, но, спустя какое-то время, сюжет доходит до третьего, огромного плюса этих ребят, это — одни из самых лучших "переходов", что я когда либо слышал в этом жанре. В этот мелодизм врывается жирный бас и агрессия, гром и молния, и всё это переменчиво, невероятно динамично и безумно красиво. В репертуаре - не только струнные, но и духовые, клавишные, а так же искаженные гитары и конечно же невероятно качественные ударные. Даже рука не подымается назвать это творение каноничным пост-роком.
Слушается на одном дыхании"

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