Emaztegaiak — Erorketa

Emaztegaiak (Basque for Spouses) is a Power electronics duo bringing together Miguel A. Garcia (aka Xedh, on electronics) and Enrique G. De Diego (aka Tube Tentacles, on vocals). They formed in 2019, and Erorketa (Fall) is their second release after Iniziazioa, both on well-respected ''Extreme Experimental'' (as they put it) tape label Deathbed Tapes. 

Now, I admitted I’m not the most knowledgeable on all things Power Electronics, but I find this  C30/ digital download most rewarding. Miguel A. Garcia begins ''Beherapen'' (delivery') with a shifting tone that's not unlike the sound of a rocket taking off to an unexplored world. It gives the impression of a speed so extreme, that is seemingly slowing down. Enrique G. De Diego screams at the top of his lungs, but his vocals are muffled and mixed in the background, so they appear more like a menacing presence than a full-on aggressive element. All in all, this fits the PE mould of electronics plus vocals, but it is done in a more subtle manner. 

The following track, ''Azpisuge'' (Submit), is harsher and De Diego's vocals are more upfront. It's a mix of gargles and cries of despair (at least that's what it sounds like to me, given that the vocals are in Basque). I'd like to say a thing about this ''language barrier'': It is a bit strange to listen to a P.E. record without knowing what its theme exactly is. Indeed, lyrics, themes and artworks are crucial in the P.E. Experience, whereas in this case, everything remains quite cryptic. All you're left with is the sound, and fortunately, it is pretty fantastic. 

''Herio Hutsuneak'' (Death Gaps), the third track, strikes a fine balance between the high-pressure sound of the first and the scary, almost inhumane vocals of the second. De Diego is letting out some sinister breathy sounds as Garcia makes his sound more organic. To use imagery I'd say it sounds like a thousand ghosts dragging their chains across a wooden floor. The last but longest track is called ''Desagertze'' (Disappearance).  And on this track Garcia's electronics evoke a church organ gone mad, gaining in intensity for seven minutes before breaking into a weightless, fluctuating texture for the remainder of the track. All the bass is gone and the vocals are completely melted into the music, perhaps a sign that all the accumulated tension of the previous tracks has been resolved? 

In finishing Erorketa is one hell of a ride. I believe the cryptic-ness I mentioned earlier gives a lot of space for the mind to wander while listening to it, and I know I have had different scenarios/ images in mind each time I’ve played this album. So as a result,  I would recommend it to P.E. fans, as well as anyone with an interest in ''underground'' music.