With the peace of mind that comes from having signed one of the best contemporary electronic albums of last year –“Hopeyard” (22)–, Manu García, a pro musician from Ilerda currently living in the United States, operates once again as NIN3S through “Abstract View” in order to once again put at our disposal an immediate and second chapter of this new project with which he has managed to combine in a perfect future the different ramifications and subdivisions of the most sophisticated and select electronics.
An unhurried, contemplative and absorbed journey, where the ultimate goal loses importance and only the beauty of its strokes, shapes, contours, and ellipses will be enough reason to captivate us for three quarters of an hour full of nuances, tones and dispersed and free scales. . A few years ago Manu was known for stepping on the accelerator and injecting enthusiasm into his productions, those with which during the past decade he managed to make a name for himself among the best of the country’s electronic music. For some time now, and coinciding with his rebirth and artistic reestablishment, this multi-instrumentalist, DJ, producer, specialist in scoring and chamber musical composition, is now committed to slowing down and immersing ourselves in a landscape and almost therapeutic proposal where every detail counts.
We feel this way as soon as the aseptic chords of “Eleven”, barely interrupted by syncopated rhythms of acoustic percussion, burst into our ears, ready to lay the foundations for a refined, friendly and rich sound that confirms the evocative power of their compositions. The piano, as a fetish instrument in Manu’s work, takes its particular share of prominence by launching lines of dialogue that guide its start towards the confluence between the avant-garde and the remote; own sign of distinction, which will be key in the successive entries in his catalogue. And it is that various past musical genres, concerted in their most expansive and daring category, now once again play a prominent role in this installment, through cuts that combine jazz and retrofuturism (“Twenty Two”) or they bravely dare to reinvent their own styles (“A Tango”). The ambition of its executor, dispersed and non-conformist, will lead him to position us on a roadmap of difficult cohesion but of equal delight, with the charm of stillness as a shared leitmotif and a continuous sample of what his restless and busy imagination contains: from a melodic soul full of intimacy and elegance (“Darkest Light”), to a synthetic festival of treated voices that refer to the most sci-fi side of electronics (“Talking to Nobody”), passing through his most direct flirtation with musical cinematography, with the help of the virtuoso Amir-John Haddad (a famous collaborator of Hans Zimmer, who now puts his six strings at the service of a wonderful “A Thousand Faces”).
With hardly any express language, NIN3S It is enough and more than enough to generate on itself a captivating trail that travels through the most pronounced valleys of emotion, peace, freedom, the cosmic and the experimental, giving as the final pillar a work closer to sound design and the extrasensory that to a disk to use.