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Outlining Niagara's definitive description of contemporary exotica, Apologia limns a frayed, buzzing sort of "Fourth World PLUS" sound, where the "PLUS" refers to their embrace of noise as an agent of chaos. But it's not necessarily malefic chaos, and should be taken as a smart acknowledgement of the overlooked yet crucial role that roughness of grain and construction play in contrast with so many clinically smooth and even anodyne efforts from the same, imagined arena of worldly music for a new age. In allowing for the entropy of time and the inevitable infidelity of attrition to enter their soundsphere, Niagara's organic machine music keenly reflects a natural world order without the need for algorithmic process. Their world is a fertile interplay of acoustic and electronic sources rendering hazy, fata morgana-like glimpses of musical possibility, practically triangulating the visions of like minds such as Jamal Moss/Hieroglyphic Being and Dolo Percussion with the explorative precedents of Portugal's Telectu to realize a fine expression of anachronistic modernism.
Most of the tracks loosely work around three-minute timeframes, lending a zig-zagging mosaic quality to the track list in between its longer parts. Richly colorful spiritual jazz arps and raw machine grooves spring from opener "França", triggering a cascade of ideas that bends between acidic kosmiche in "6:30" to the heat-sick boogie gliss of "40" and the stark emptiness of "Senhora Do Cabo", to give up the gorgeous, extended flute and acid meditation "Siena", and mess with Vangelis-style synth majesty on "Via Garibaldi", before spending their coolest energies in the drowsy Afro-Latin swagger of "Cabo Verde". It's hard to ignore the fact that Alberto, António and Sara aka Niagara have distilled their sound to imperfection on Apologia, resulting one of 2018's most crucial lo-fi electronic albums. Artwork/hand-painted sleeves by Márcio Matos, edition of 500.
|B1||Senhora Do Cabo|
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