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The sonic touchstones are rediscovered gems of Latin American psychedelia mixed with the work of romantic cantautores (singer-songwriters) from the waning days of Franco in the '70s.
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The style of music being obscure to modern listeners makes this project's viability a good one, and La Llama reveals material of quality from a great ensemble of musicians.
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Although there are moments where you wish for the upbeat, there is a solace to La Llama. For all of you non-spanish and catalan speakers out there, your mind is not forced to translate any of the words either, but simply inspired to enjoy the ride.
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UncutHerren calls Savath And Savalas his vision of "Catalan acid folk"--and that should be all the encouragement required for fans of Four Tet, Tropicalia and early Animal Collective to dive right in. [Jul 2009, p.97]
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Herren and his mates have pulled off the difficult task of building on a singular sound without sacrificing what made it special in the first place.
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For Herren devotees (a group in which I would place myself), this album will appear as a necessary, blissed-out, and relaxing installment in an ever-evolving musical saga. For others less familiar or only interested in the Prefuse aesthetic, La Llama may leave them feeling adrift.
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Creaks, pings, birdcalls, clarinets, rustles, whooshes, echoes and all sorts of other sonic flotsam surround simple melodies and quietly picked acoustic guitars on La Llama.
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A good deal more Lange and a good deal less Muns would have brought out the best in Scott Herren.
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Q Magazine'La Llama' and Carajillo's clinking percussion, two moments of clarity on an album strong on atmosphere but sometimes short on focus. [Jul 2009, p.131]
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The concept is pleasant at first, but pretty soon the repetitive nature of each soundscape--clipped beats, soft Catalan/Castellano vocals and the odd bash, pluck, bird-call and random tinkle--starts to make NME jittery.