Mexican psych group Lorelle Meets the Obsolete's fifth album, De Facto, was their noisiest, most risk-taking work to date, and also their most rewarding. Following the triumphant 2019 full-length, the band served up companion EP Re-Facto, containing two examples of how their sound has continued to evolve and mutate, and two remixes of De Facto tracks by trusted friends. "Fosas Limitadas" is a woozy, danceable cut with a steady rhythm and not-so-steady synths and guitars, which teeter and swerve around Lorena Quintanilla's half-spoken, sometimes tremolo-drenched vocals. Even when it feels like it's about to tip off the rails, it straightens up for a brief, poptastic chorus. The other original, "El Olivo," is a more bummed-out crawler made extra trippy through extensive delay effects on the vocals. Cooper Crain (Bitchin Bajas, Cave), who has mixed or mastered most of the band's albums, deconstructs album track "Lux, Lumina," keeping the Can-worthy groove and tastefully applying loads of swirling, scattering effects. By the end of the track, Quintanilla's vocals are totally glitched out, and a bracing level of crunchy static blankets the surface. While this remix quickly builds up to an awesome, noise-fried release, Pye Corner Audio's take on "Unificado" is a study in brooding tension. The original was a true slow-burner, gradually settling into a lengthy, twisted guitar solo, and increasing the tempo a bit. Pye's version stays at the same BPM, kept by a smoothly ticking vintage drum machine, and the original track's swarm of effects blend with additional layers of dramatic synth swells, but they don't approach meltdown like the original. While clearly an interim report and a momentary diversion, the EP is a tantalizing preview of where the band might go next.
AllMusic Review by Paul Simpson