Concrete/ambient tour of the city street, and of the many bar bands which each play a variant of the self-tropicalization standard, “Brazil.” This is, then, Esquivel’s take on the figure of the flâneur, or walker in the city. Baudelaire, for example: “His passion and profession are to become one flesh with the crowd.” Esquivel charts the stakes of this desire to fuse into community and registers its necessarily violence in the club fight which erupts at the end of the track. Which doesn’t have to amount to the retrograde Benajamian position on the crowd or the mob: “Brazil,” it’s clear, is each time different (musically multiple and variegated, “within” itself).