9 tracks. Running time 70:17 Kaltar started composing music in his teens and performed the first electronic music concert in his Mexican home town of Aguascalientes. Later he moved to Miami and founded Asylum Studios where Emotional Backlash was recorded between 2002 and 2004. It's a mainly electronic work with the addition of drums performed by Lee Levin. Overall the music on this album reminded me of Bekki Williams's work for the use of only lightly textured and layered electronics, and in that respect it harks back to Jean Michel's Jarre's Rendezvous era. Defining Kaltar's style is a strong emotional resonance running throughout. None of the tracks have names to indicate the particular emotion they're focused on, so it's up to the listener to interpret it unguided. On tracks like “Emotional Backlash (Part II)” the mood is one of restrained joy, as though we've come out of a traumatic period to enjoy life again. Spotted and kind of slapped electronic notes keep stuttering across the soundscape while a hopeful melody plays out just behind. Slightly searing sustained notes then add an intensity to the melody. Sometimes the music is significantly more intense, adding a real sense of drama or overwrought state of mind. In “Emotional Backlash (Part IV)” a Vangelis-esque basic, kind of martial, synth rhythm plays out against pingy notes, workmanlike sequencing, and metallic percussion. From an emotional point of view it made me think of Eric Van Der Heijden's Da Capo - though Kaltar's music isn't as strong on the musical and melodic depth. Apart from the last track most are upbeat in tempo. The last piece “Emotional Backlash (Part IX)” features some nice piano work and subtle chorales creating a mysterious aura. And for me this is probably the best, and least representative, track on the album. As an exercise in emotionally driven electronic music Emotional Backlash works well. Sonically and musically it doesn't break any new ground but is enjoyable on its own terms.