Quietly tumbling under the leaves of 2019 is the third album from Madrid’s Conrado Isasa – a fingerpicked gem that’s indebted to the Takoma school, but leaning forward towards a more experimental future. The guitarist’s phrases tumble delicately from his fingers, recalling his fascination with Fahey, but also the more open-ended spectrum of Richard Bishop. There’s often an inherent sadness in Isasa’s works, heartbroken but not beaten. On the slow and stately “Conversaciones en un Supermercado” the artist captures the empty ennui of wandering through necessary consumerism, forced to connect with humanity through the clarification of produce. On “Cuesta Ramon” he balances Eastern trills against a harmonium drone, taking his playing from American valleys to the hum and bustle of Indian cities, again conveying a sort of lostness within a sea of humanity. He even gives his influence Fahey a nod with a title dedicated to him, echoing the legendary guitarists balance of movement and touch through his feel of the strings.
There is joy also, though. He rambles like Rose on “Arquitecto Tinista,” cracking open the windows to let the sunlight shine down and the cool spring breezes blow damp and delightful. He wanders around the city square with no particular place to be on “Pocitos, Montevideo,” a shy, yet sweet track that’s an exercise in restraint. Throughout the album’s many moods the thread of isolation and connection seems to chew at the listener. Often fingerpicked albums convey moments of ebullience and anxiety but Isasa excels in finding the feelings between the extremes. He’s sketched an aural ode to unsure interludes, crossed glances, mild reliefs, and heartbreaks so small they’re only noticed after being added together at the end of a day. His touch on the strings echoes in the mind long after the needle’s left the record, haunting the listener like a task left unfinished, a sentiment unresolved.
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