Singlelito - Non-Consciousness (2025) [Hi-Res]

A/five stars; a fully-certifiable masterpiece of wonderfully-refreshing quirky avant-Canterbury music. (BrufordFreak, Progarchives)

That a 19-year-old can write, perform, mix, master, and produce an album like "Non-Consciousness" in 2025 means there may still be hope for this 'civilization'. (Mark T., Third Millennium)

"This is a very good album, and I believe I will look back in future years to this work to understand where someone who will, I know, be a very important player in this progressive world of ours, first struck me.
Another class work released via a class label and highly recommended for those of you prepared to listen beyond the accepted forms." (Steve Lazenby, Lazland)

"From the Spanish label aMARXE. A solo, multi-layered album with vocals, blending Canterbury influences like Soft Machine and Hatfield, progressive/symphonic, and Spinetta-esque South American/vocal influences. Including Phil Miller-esque guitar and Dave Stewart-esque keyboards, this album develops a sound that's inflected, fast-paced, and lyrical. A retro yet fresh masterpiece!" (World Disque, Japan)

"This is probably Facelift's album of the year to date - on the excellent áMARXE label which brought us Amoeba Split and Tom Penaguin, more superb Canterbury-tinged music, courtesy of Colombian multi-instrumentalist Singelito. Got hold of this a month or so ago, and have listened to it every day since, often multiple times.I'm hearing the raw energy of Soft Machine's Volume 2, the aggression of Quiet Sun, the nibbly bass (?) of Alifib, the songforms of Egg and given that the bonus track is called 'a Lullabye for you but you didn't sleep' the influences are somewhat overt. It's just full of earworms, nicely rough-arsed in places and really rather splendid all round. Highly recommended!" (Phil Howitt, Facelift)

"Instrumentally, this is all really solid, lots of organ, electric piano, bass, guitar solos, and great drumming and percussion, with prenty of unconventional songwriting; the organ in particular sounds a lot like the one Mike Ratledge played on the first few Soft Machine albums, which at least in my mind gives the whole endeavor sort of a Canterbury flavor. Everything seems to be tightly composed and full of energy, and the vocals in general are excellent." (Peter Thelen, Exposé)