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There\u2019s a lot that\u2019s impossible to know about this short LP because the information simply isn\u2019t present. First of which, where these recordings were made and who made them. You can work out that at least some of these recordings of birds come from France, simply because a parrot can be heard repeating a person saying \u201Cbonjour, coco\u201D on one of the tracks. If these recordings were made for research or pleasure, the packaging doesn\u2019t say. The date of release isn\u2019t even possible to figure out, with the year of 1955 listed on Discogs being nothing more than an estimate based on adjacent releases in the La Voix De Son Ma\u00EEtre catalog. I don\u2019t even know where the LP came from\u2014some guy on a torrent site found it by chance and ripped it, knowing nothing of its provenance himself. I held on to these files for years not only because they\u2019re pretty, but because I think these moments in time are worth preserving. I became protective of this record because someone decided to preserve its contents on a whim, and because everyone else that downloaded it almost surely forgot about it. I can\u2019t tell you a thing about why it should matter, and that\u2019s why it matters so much to me. \u2014Shy Thompson
It is not my intention to hold Pati\u00F1o\u2019s album up against one he didn\u2019t intend to make, so I want once more to quote Anomia in describing the album as: \u201Can attempt to explore humour as a subversive tool that allows Pati\u00F1o to question, through a playful approach, rigid standards and a persistent excess of \u2018seriousness\u2019 in contemporary electronic music.\u201D This attempt, I feel, is an utter failure. There is nothing really very humorous or subversive about this album. It is a rather rote, bloodless bit of filter-noodling which might have might have scraped its way on to a Wire year-end list circa 2001, but which is now almost indistinguishable from the work of any teenager with a cracked FL Studio and the capacity to google free sample packs. In terms of questioning the \u2018seriousness\u2019 of contemporary electronic music, Pati\u00F1o is less successful than, say, Alessandro Bosetti in 2006, Hype Williams in 2009, PC Music in 2013, or 100 gecs in 2019. Perhaps he would do best to leave an art gallery once in a while, and give one of them a listen.[1]
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