Horror Pleni is experimental techno in contemporary form of minimalism, between Actress and Four Tet, but it crumbles in the subsoil or better in underworld red as blood. The album carries the listener in psychedelic fogs and isolate atmospheres, while the incessant advance of 4/4 gets more granitic. The moving through the nine tracks is made by stable and inescapable steps, between clear and obsessive visions of the past and noising dreams for men from the future. Mind is free to fly, while body slides through seediest part of hell. The album begins with a palpitation “Wasted Summer”: something got wrong and rhythm chases changeable and enraged, with heavy pace. “Dreaming Baby Balcony” is light and shadow, between acid rays of sun and rasping wind, under an orange sky. “Live Twice” converts in sound two beings in opposition: sweetly gloomy melody and frenetic rhythm fuse in balanced contradiction. “Inside a Candy” is a scary trip who first digests you and lately spits you in a highly toxic mixture. In the very middle of the album, “Leave the Land” is a fugitive heart from its missing beat, in the Space. With the unique vocal of the album, “Rana Delay” it’s a pause from obsessive atmospheres, replaced with gothic taste for a while. “Horror Pleni” condenses all suggestions in stratified and chasing emotions. “Sidi Bouzid to Cairo” (Checkpoint 303 reworked) doesn’t take prisoners, shooting on sight in 4/4. “Krome” says goodbye to the first artistic album from Idga, getting to subsoil by procession of killer percussions. Mind is already free, just remains sinking body. [Maracuja&Plasman]
This is a very important release for us, since it marks an important step into the most modern music releasing approach. You can use this music whatever you like as far as it is for a private use/context. Please, feel free to copy-paste-send this release to your best friend or dj and to play it during your own private parties –>enjoy it !!
At the same time these works are regularly registered to the Danish Collecting Rights Society “Koda”, which will collect royalties in the behalf of the artist/composer: IDGA, and the publisher: 51beats, when this music will be employed in any commercial context.
We believe this is close to the ideal approach toward the most intelligent way of publishing music and arts, today.
02-The Expansion Of Consciousness(5:45)
03-The Reference Point(4:45)
04-Soup Of The Tendons(5:35)
06-Cold Wind Is Moving(5:00)
07-The Social Cost Of(6:02)
The album “45 minutes in hard drive through different ways” was born as a soundtrack for an audio visual installation presenata in September 2012 in Valletta, capital of Malta, during the White Night, commissioned by the Malta Council for Culture and the arts. The Maltese show of 10 hours, including a live painting on three canvases (150 x 100) mounted in a prism, some of the sets with video projection art during the concert, is an attempt to insert an unusual artistic expression in a particular context of this location of the center of the Mediterranean. The show also includes body painting and audiovisual installation from which the music of the album is about.
MUD, is basically a systemic study of an instrument and its resonance capabilities. Also is the culmination of the mixture between sound processing and live improvisation with a very limited palette of sounds and effects.
As usual in Saavedra’s work one can grasp the enormous amount of time invested on developing, to get the finest results, in terms of sound. Earlier in spring, Saavedra stated (while talking about this album) that his idea was to squeeze all the capabilities of this instrument until depletion. So he did, and this is the modus operandi of Saavedra, to be able to extract the most of it of his instruments and deliver a closed-up project, without cracks, a full album, enclosed and finished.
Performed and recorded by Olga Nosova, Alexei Borisov and Els Vandeweyer (Berlin, Germany, 25 July 2012)
Alexei Borisov: guitar, voice, electronics
Olga Nosova: snare drum, citra, recorders, sound objects, voice, effects
Els Vandeweyer: vibraphone, percussion, voice
Special thanks: Meli Anders