La Mancha del Pecado -A Triple Fetishistic Treatment - Tribute to Raoul Valve digital release

 

Originally released as a deluxe triple CDR on Altar of Waste. This album was special due to different angles took inspired by the OST made by Raoul Valve and transformed via recording process with effects and twerking knobs.

From RADIO FREE MIDWICH in 2014

This three disc epic both appears on US label Altar of Waste and takes its inspiration from the work of Cory Strand, the label’s head honcho.  Cory is known for his multi-disc noise/drone extrapolations from favourite film soundtracks and, following this lead, Miguel has chosen to interpret the work of Raoul Valve, best known for scoring the high-gloss art-porn films of director Andrew Blake.  The sheer nylon/patent leather glamour is abstracted through the crooked lenses, peepholes and clogged filters that define the La Mancha vibe.  Cory’s own description of the album is compelling:

…a frightening excursion into the deepest realms of the glisteningly erotic illuminating the horrid emptiness lurking behind boudoir noir. Utilizing the eclectic soundtracks composed by Raoul Valve for three Andrew Blake films, “A Triple Fetishistic Treatment” sees La Mancha Del Pecado transforming the vaguely banal and unobtrusive into blackest night clouds of uncertainty and self-doubt. The artistry in Blake’s films reveals layers of suggestion not oft found in standard gonzo pornography, teases of themes and relationships oft left unexplored by the mainstream in favor of quick release and exhaustive bouts of fucking. La Mancha Del Pecado takes that artistry and rips it open, exposing both the emptiness at its heart and the lurid technicolor expanse of the images it approximates.

The guy can write a sizzling blurb, f’sure, but I don’t agree.  Miguel’s perversion does not seem sleazy or hollow.  His submissive worship of the stocking is not an expression of existential malaise.  Rather it is joyous, celebratory and engaged.  His band name translates as ‘The Stain of Sin’ but there is no judgement implied in this – Miguel just doesn’t mind getting dirty.

The first disc, ‘Subtle Exhibitionism (Kyla Cole)’, is a mere 43 minutes of blood in the ears – what you might expect to hear after an hour being strapped upside-down in a dominatrix’s dungeon, your brain an electrical storm of consciousness drowning discharge.  My theory is best supported by the second disc, ‘Slaves With Stockings and Heels (Kelly Havel)’, which is a glorious, sense heightening, scything buzz.  Profoundly, heavily psychedelic, it writhes at a furious fever pitch throughout and seems nowhere near spent even after over an hour of effort.  The third disc, ‘Industrial Girlfriends (Justine Jolie)’, is the toughest.  Clocking in at 55 minutes, it begins, appropriately, with hydraulic rhythms and pneumatic hiss and continues with a pummelling tour of the factory floor where molten plastic is injected into amped up, anatomically suspicious moulds of the human form.  The second half eases up a little as a series of satisfying metallic clatters are picked up, rattled, dropped and replaced until all that is left is echo steeped in static.