(Dead Angel no.46) Lovely, crapped-out electronic noises that come and go in waves. Drones are looped and flanged and soaked in reverb, then layered and staggered, until the whole mess sound like a nest of electronic cicadas hopping about in an orgone accumulator. Beautiful, haunting sounds drift into the ether as mechanical cyclotron noises form the bedrock that keeps it all anchored (more or less) to the ground. The textures vary wildly and the entire disc (one long piece) tends to creep through various stages or movements of sound, where they'll stumble onto something interesting and hang with it for a while, processing and mutating it until it either turns into something else completely or they exhaust its possibilities and move onto something else. This is less "music" than it is the ambient sound of power plants, automated assembly lines, and drone factories. A kinder and gentler (sort of) variation on what Throbbing Gristle imagined when they coined the term "industrial music," perhaps. If Eno had been sitting in the office of an electromagnetic batch processing facility rather than an airport when he came up with the concept of ambient music, the results might have been something of this nature. The ambient nature of this disc is in the fact that it could be turned down and played as background sound without too much problem, but at the same time it offers much for closer listening. There are some beautiful and unearthly sounds buried in the drones and mechanical loops here. Another exotic offering from Public Eyesore, and not even remotely a disappointment....- RKF

(Blastitude no. 12) I’m not typically a fan of albums that are composed of one long track. Rarely do they have enough variety and timing to hold my interest for the duration. I do, however, enjoy Guitarras even though it consists of one long track clocking in at just over 30 minutes. I’m assuming that this is a piece of improvised music. Regardless, it moves and holds together nicely making subtle shifts that are appropriate and not gimicky or abrupt. It could easily be heard in the foreground or background. I believe that Carlos Giffoni is in Monotract which spills over into this recording. Not that this really sounds like Monotract but he brought some of the same tricks, mainly the pitch shifter, with him. Again, for the most part, this production trick is kept in context. There really aren’t any liner notes and no list of instruments that were used on the recording are sited. I’m assuming they use primarily guitars based on the title. There is a good chunk of the piece that has strong Sonic Youth influenced guitar strumming but that is usually a good thing, I guess. As a whole, it reminds me of a less schizo, longer track version of Monotract’s Blaggout album. Comes in typical Public Eyesore packaging. Recommended. - John Ruhter

(Neo-Barbaric no.16) Guitars lace their strings around wisps of extra-dimensional time space fluctuations via synthetic noise in a bubbly wash. This disc is one large fresco (31 mins) of subtle spacey ambiance with a share of mystery and sci-fi style drama. The rotation of this disc provides excellent catalyst for deep inner-space exploration or far distant imaginative travels. This epic ambiance unfolds in long windy intervals, developing mini-plots and detours through uncharted bleakness and solitude. The echoes of emptiness envelop the listener and rattle around in the skull forcing you to realize your minuscule role in the massive universe. Yea, its a very emotive recording coming from such simple structure. In my book, that's a success. - CC

(Vital Weekly no.290) Jorge's work with the for me unknown Carlos Giffoni is more interesting. I am not sure wether the 'Guitarras Del Olvido Y Pensamientos Dimensionales' is the title or the programm of the work, but anyway the two play the guitars in a semi ambient, semi improvised, semi noisy way, going through a bunch of effects (delay mainly) and it creates overall a nice atmosphere. - Frans de Waard

(Ampersand Etcetera 2002_10) The guitar of Castro meets the guitar and electronica of Giffoni in a 30 minute excursion that weaves a compelling web. It opens with slow and fast guitar tones with crackling and chatter over, the sounds pulsing and cycling as the guitar sings on resonantly – an interdigitation of subtle noises and ambience. The piece then slowly evolves and develops through a variety of flavours – wind and guitar with theremin-y sci fi sounds; looped strumming with building woobles and echoed percussion; pulsing and swirling sounds; plucking; complex layers of sound over the surface – sci fi, machines; strumming guitar and descending tones and into a slightly wild and woolly conclusion. A very enjoyable piece of work, with complexity to listen for. - Jeremy Keens

(Splendid 8/14/2002) An ex-girlfriend once described Flying Saucer Attack's music as "the prettiest vacuum cleaner you've ever heard". The same description could easily apply to this collaboration between experimental guitarists Jorge Castro and Carlos Giffoni. Similar in tone and intent to FSA's more ambient works circa Further, or perhaps the quieter side of New Zealand's masters of "decaying sound", The Dead C., Guitarras del olvido... consists of a single track, which clocks in at over thirty minutes. Percussionless, and with virtually nothing resembling a melody to draw the listener in, the piece can certainly a bit of an endurance test. Thankfully, however, rather than simply being content to create a snarky ball of noise, Castro and Giffoni have seen fit to imbue Guitarras del olvido... with an unusual sense of pacing and dynamics, making the piece much less painful than it could otherwise be. Although, needless to say, this disc probably won't appeal to your average Beatles fan, Castro and Giffoni have created a piece that the experimental guitar enthusiast will find worth hearing. - Jeremy Schneyer