Do not expect wild Cuban dance rhythms here. While there are suggestions of dance in Credo Mambo, they’re pretty subtle and always integrated into the larger plan of rich electronic and concrète backdrop for the chanting voices. I must say, that although I’m one of those who prefers less talking, Chion has a talent for making convincing pieces of music, whether or not there’s a lot of talking.

Along with the 1994 Gloria, the 1992 Credo Mambo would eventually take a place in the tremendous Messe de Terre, a two hour extravaganza of text and noise that alternately (or do I mean simultaneously?) shocks and exhilarates. (See this month’s report on Futura ’06.)

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