Recorded June 2010 - January 2011
Composed and Produced by Magdalena Solis
Spoken Words on Proserpina’s Gardens by Amenità
Released on Dying For Bad Music, February 2011.
"The sound of Magdalena Solis hovers somewhere between psychedelic space rock and kosmische krautdrone, which means it's pretty much EXACTLY what we love, hazy, washed out drifts of dense distorted wah wah guitars, swirling FX, Eastern melodies, hushed angelic female vox, minimal drums, most of the tracks, pulsing and drifting and shimmering, and when there are drums, it's more sort of a blissed out, percussion laced spacedronedrift, take "Seven Boys And Seven Girls" the drums a simple motorik pulse, the main melody looped and cyclical, the whole thing wrapped in effects-heavy swirls of distorted synth and psych guitar buzz, the sound building to a seriously blown out cacophony, only to settle right back down again, leading into the comparatively contemplative "Cities Crumbling Planets Growing", a sitar soaked stretched of billowy low end, and distant sci-fi squiggle, barely there guitars slowly build into something, thick and fierce and spaced out and dreamily distorted.
The whole record is a series of smoldering slow build space drone epics, heavily layered landscapes of swirling synths, wheezing organs, skittery percussion, lush warm sonic swells, all wreathed in thick swaths of serious psych guitar, the sound constantly shifting from tranquil and dreamlike, to blown out and druggy/droney and way tripped out, heady and hypnotic and easily some of the best kaleidoscopic kosmische space/drone/psych we've heard. Most definitely recommended for fans of White Hills, Grails, the Alps, Expo 70, Gnod, Carlton Melton, Bong, Lumerians, White Noise Sound, Spacemen 3 and other droney, druggy psychedelic drifters..."
"Magdalena Solis play the kind of mystical psychedelia that sounds appropriately transcendental yet with an edge of menace that befits their rather sinister source of inspiration. Musically though, Hesperia is less Latin American and more Babylonian and North African influenced, although the undeniably exotic rhythms are complemented by enough clanking industrial noise to draw favourable comparisons with the likes of Terrascopic favourites Teeth of the Sea and Gnod.
Nowhere is this esoteric melding of styles better exemplified than on “Cities Crumbling Planets Growing” a pulsating, writhing snake pit of a track and on “Prosperina’s Garden” in which Salome dances under the full moon to the howls of wolves and to a grinding organ that’s less Doors than Seeds (think “900 Million People Daily All Making Love”) as the Valkyries descend; Yes I know the imagery is confused and the global references a wee bit scattergun, but hopefully it gives you an idea of how colourful a kaleidoscope of an album this is. And it gets weirder and more and more “out there” as evidenced on the standout track “Sisters of the Twilight Mansions” and the absurdly, no brilliantly, titled “Crown Your Whores and Burn Your Kings”, which sounds exactly as orgiastic as you’d expect. It’s a shame they don’t make hippie exploitation or hammy horror movies anymore because you’d be hard pushed to find a better soundtrack than this."
Ian Fraser - Terrascope
"A homogeneous synthesis of the arts with a soundtrack character, which after multiple listens still creates multicolored pictures. People who are seeking out genuine highlights, don’t miss ‘Hesperia’, that from start to finish falls into deep trance. When it comes to the best albums of 2011 we will surely see Magdalena Solis ‘Hesperia’ again!"
Raphael Feldmann - Kulturterrorismus
"Magdalena Solis are a psychedelic chariot, endowed with a thrillingly atmospheric psychedelic attitude, eastern-like moments, extremely fuzzed-up guitars with plenty of wah-wahs, an organ that colours mercilessly their sound, synths, discreet drums, ambient disposition."
"The music of Hesperia has an incredible sense of place - places that are darkly spiritual, places where Magdalena Solis plunge into black, gloomy chasms and then build monoliths of music, casting huge grim shadows on you and in you, as if you are standing alone and alarmed at the end of the world.
This is not music to calm or reassure you - but rather to remind you who you really are."
Ian Parsons - Bent Musiccredits
released 08 February 2011
Dying For Bad Music (DFBM-08)
Klangverhältnisse Records (KVH005)