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Often, when constructing an album of instrumentals artists will attempt to create a world, an ambience, or a narrative through melody and tone that connects the songs in a stylistic manner. For Dario Rojo Guerra, otherwise known as Flako, constructing one world - one stylistic identity - for his debut is not enough. Rather, he takes listeners on a fantastic voyage through a melodious mishmash of genres and sounds, pulling in diverse influences and exuding an almost effortless freewheeling approach to song and structure.

Natureboy opens with soft, rising choral notes, calling like distant voices, whilst pulsing underneath is a subtle, house-like beat. It's quiet enough to not disturb the calming, cleansing quality of the foreground music, yet noticeably provides an early sense of rhythm. Deep bass bubbles in along with sparkling chimes. The bass hints at mechanisation, whilst the softer sounds, particularly those opening 'voices', provide a sense of something more human. It's a relatively simple juxtaposition - especially given what comes later on the record - but is effective none the less at introducing the record. This opening segues comfortably into 'Purple Trees' a slow dance of circling keys, plucked guitar strings and whispered vocals. The lyrics, speak of discovery, of a person dropping their glasses - and perhaps shedding the false sight granted them by industry - and discovering an "imaginary world / perhaps a dream of mine" lending the whole introduction a magical, mysterious quality.

Where Natureboy excels is in these moments. These collisions of styles and ideas make for some of the record's most rewarding, most enjoyable tracks. Take the beat-heavy 'Kuku', the track which, up to this point was Flako's most well-known piece. On it he blends choral vocals, sharp, phasing synth leads with big, TNGHT-style beats constructed from sampled horns. In amongst this is a plethora of other sounds, such as uptempo, skipping percussion, with a few tribal drums thrown in for good measure. It's this depth and variety of sounds that ensures 'Kuku' presents itself as an exciting original piece, rather than something to be dismissed as TNGHT-like.

Interestingly 'Kuku' is bookended by two far more subdued tracks. 'Spice Melange' preceding it and 'Solo For Chloe' following. The former track opens with muted, rhythmic plucked strings that set the tempo, before introducing clean guitar chords played with a syncopated upstroke and a soft, fluttering percussion. It's an addictive, transformative piece which is no surprise given that it takes its name from the drug at the centre of Frank Herbert's sci-fi epic Dune. Meanwhile, 'Song For Chloe' constructs itself around a baroque harpsichord melody and features one of the record's starkest arrangements. For much of the track's 2 minute runtime, the harpsichord plays solo, but gradually Flako introduces layers of spacey, Vangelis-influenced synthesisers and a soft beat, before stripping everything away and returning to the solo that opened the song.

There's a great deal of control and attention to detail on show here, which is understandable when you think about how difficult it is to get such disparate, diametrically opposed ideas to co-operate. Yet nothing on Natureboy feels forced, indeed you often have to remind yourself that these songs aren't just the result of happy accidents - and that is testament to Flako's skill as a producer. Sure there are some weak moments on the record. 'Who Do You Think You Are', despite opening with an intriguing, ominous arpeggio of quiet keys is quickly spoiled by a vocal performance which was probably supposed to add a further element of mystery but ends up forcing the point too hard. This isn't helped by the awkward introduction of a rather obnoxious beat and wonky keys in the track's second half, which jars with the preceding moment.

Yet even these weak patches hint at a sense of experimentation, a freedom to test the tensions between the smorgasbord of sounds Guerra uses as his palette. There are flourishes of optimistic, cinematic strings on 'Twelve o'Clock Shadow', backed by Spanish guitar, whilst 'Som Da Aura' and 'Golden High' take things in a more ambient direction, tracing grand soundscapes from found sounds and philosophical ideas. This is particularly true of the former track 'Som Da Aura' in which Flako takes inspiration from Brazilian composer Hermeto Pascoal - who developed a way of composing music to represent a person's aura based on things like their speech patterns. In Flako's case this meant recording a series of noises and then gradually, through manipulation, finding little melodies which were used to construct the ethereal choir that features on the track. Knowing this background adds an extra level of depth to the track, but fortunately it stands up on its own as a serene, beautiful track.

This sense of continual discovery flows throughout the record and really begs the listener to keep returning in order to hear new details they'd previously missed. Whilst some tracks (like 'Som Da Aura', 'For You' and 'Solo For Chloe') are sparsely arranged, the remainder of Natureboy's 16 tracks are dense, richly textured pieces. Subtle guitar lines, percussive brushes, found sounds and ambient electronics flitter in and out of view, as confirm the level of care and attention that has been devoted to their construction. Every track here feels like a labour of love, like an artist striving for perfection - all the more amazing that overall Natureboy feels so effortless on the surface.

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