A musician raised in Sweden with Argentinean heritage. Assumptions abound. I’m torn between allowing the music to speak for itself – to stand alone and be something unique to me – and wanting to analyse it in the context of the musician’s life. Is it the celebrity culture in which the world has found itself since the days of pharaohs, emperors and queens that forces me to play this card? Or is it a genuine desire to give the music even more life through exploring its birth and journey? Maybe it is a bit of both in what I have to say about his music and the album Veneer.

Back to the dichotomy: It would be too easy to surmise that his style is orld has found itself since the dawholly unhelpful, but may be an easy handle for the simplicity of the sound, the rhythm, the music. Similarly, the quiet passion could be passed off as “Latino”, except that it is so much more. 

Gonzalez has said that he is interested in music that could he sound, the rhythm, the music. Similarly, the quiet passion could be pasme, it is a reaction, an ability to identify a feeling, an urge that does not squarely fit into a repetitive concept. 

As a musician, he has stripped music back to its core, so what you’re left with is something simple, straightforward and direct. He is not telling you how to feel or what to feel with his music – merely giving you the space to respond. It’s very non-invasive and to the point. 

The tracks are not very long – you have no chance to become mired in your thoughts inspired by them. There is enough music to prompt reflection or maybe even silence. Then you can snap out of it. The songs seem to drift along, then break. One is surprised, challenged by the unexpected. His technique builds up with instrumentals and repetitious vocals, swelling to something and ending abruptly. No fade-out, no hint it might end. Like life, it doesn’t run smoothly, but it can be beautiful. 

In a similar way, Josak. One is surprised, chalwith melancholy, without going the whole way. The very simplicity of the melodies guards against self-indulgence and seems to encourage the listener in much the same way. Take just enough – and move onst self-indulgence and seems to encourage the listener or something or someone. Music you either have to listen to let your imagination go or one that stays in the background, letting it creep into your pschye. 

There are shades of Peter Mayer, but instead of the sort of low, lazy, summer day notes, you find a sort of cautious melancholy pervading each track. Not that it is gloomy, just there is a distinct note of despondency, even sadness, that he is fighting against. 

In an almost contradictory way, you could also say this is the sort of music to think by, in an economical way. In each song, his lyrics are telling a story, but don’t intrude on your own sense of storytelling, perhaps serving to complement it. There are even moments in the album when I wanted to dance, to move – to do anything but remain. 

‘Heartbeats’ felt like a stroll on a windy autumn afternoon. A stroll on my way to meet someone. ‘Slow moves’ has me sitting on a couch, nervous, excited, expectant. Some reactions were unnerving to me. The clapping in ‘Lovestain’ provided an intrusion into a lonely song. The 

occasional use of flats in ‘Broken arrows’ belied the steady rhythm – there’s something else at work here. Almost like life is just a little bit off kilter.

Why Veneer? I think it’s that simplicity. It gives you a face. The interpretation and the feeling is up to you. It’s up to the listener to use it. Perhaps most music is about this. But Josg is up to you. Iten moments in the album

Click on the images for the music