Album Review: De Facto by Lorelle Meets the Obsolete

After recording three murkily psychedelic albums heavily influenced by living in the swirl of Mexico City, Lorelle Meets the Obsolete's sound changed when the duo moved out of the bustling metropolis to the more relaxed locale of Ensenada in Baja, California. Their music became more expansive on 2016's Balance, and shifted again when they built their own studio and had more time to experiment. When recording 2018's De Facto, they were joined by members of their live band -- synthesizer wiz José Orozco, drummer Andrea Davi, and bassist Fernando Nuti -- and the five musicians recorded much of the album together in one room, constructing songs from loops and fragments before masterfully patching them together.

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Lorelle Meets The Obsolete – De Facto After a relatively slow start, 2018 turned out to be a rewarding year for Sonic Cathedral. Making promising introductions for Swedish noise-gazers Echo Ladies, facilitating a more internationalist reach for the ambient abstractions of Argentina's Sobrenadar and giving space to the psychogeographical Lancashire journeying of Mark Peters, the label proved that its open-borders policies were as commendable its as quality control calibrations. Not content to hibernate for the germinal months of 2019, Sonic Cathedral serves up this latest – and rather fine – long-player from the metamorphic Mexico duo Lorelle Meets The Obsolete.

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