Mauro Martinuz, sound engineer, soundtrack composer for cinema and contemporary theater, owner of the Transfert studio and founder of NEDAC collective.
Written,produced,recorded and enginered by Mauro Martinuz at Transfert studio in Berlin.
Additional musician: Luca Sella.
Artwork by: Michele Servadio ( servadio.com )
Suez Ep by Mauro Martinuz is licensed under a Creative Commons Attribution-
NonCommercial-NoDerivatives 4.0 International License.
Permissions beyond the scope of this license may be available at ekar-records.tumblr.com/contact.
Malignant Cove is adcBicycle’s 3rd album. All tracks are about a rocky ocean cove in Nova Scotia, Canada. The album was constructed to be catchy, dark, background music. The music engages the listener with gritty analog sounds, loosely played instruments and driving beats, yet at the same time sits peacefully in the background with distant vocals, slow building drama and a consistent dark pop mood.
I had then walked and walked forward on, with abrupt and unhesitating steps, leaving behind and beneath me a landscape of emotional chaos and languishing turmoil… I was alone again; an indisputable shadow piercing through the dense light. The clouds had no sign of giving up, force-feeding me with rain and occasional doses of excessive oxidation. I hardly breathed; at times I almost forgot my own name and place of origin… I moved through the darkening terrain, stepping to and fro unrecognizable crowds of human-like robots dressed in traditional attire, constantly reincarnating monsters and transparent biblical creatures. I passed a lovelorn tomb and an empty forest without a birthmark. I kept on walking even though by then I didn’t know whether i’m dead or alive… I took some photographs but had nowhere to develop them. So I ate them to keep me safe from starvation. I saw a crippled young girl offering poisonous candies to funnily dressed women, and strangely beautiful very old men offering their bygone youth to unborn babies. I could hear the distant noises of war but also the comforting buzz of nature’s cutting edge freedom. I walked forward like a zombie with closed eyes, led not by my eyesight but by my rusty inner compass… Where to? I wish I’d known. Or… Do I, actually? Perhaps it’s better not to know anything…
We know not where our separate paths lead us, none of us know anything, as a matter of fact. We play an occasional role here and there; yet everything we are is a theatrical mirage; each one of us being a minor player in this surreal shadow theater. You may believe in whatever you want or whoever you want; it doesn’t matter to me. You may lead your life according to society’s compass or the fathomed rules of your psyche… You may be and/or choose to be a clown or a god… I will still pass through you as if you were a random ghostly projection of my perpetually dreaming consciousness…
This is the original music form the short documentary film “Prelado”.
The inhabitants of Prelado, a fishers’ village on the southern seashore region of São Paulo, tell their stories while preparing to the Folia de Reis’s ball. Each story, be it real or fantastic, can be true: huge apes that live in the forest, ghosts in the graveyard or a ball of fire that appears on the sky each seven years.
Creating music in collaboration with Wings of An Angel was like singing in front of a magic mirror that reflected to me only my beauty and mystery, leaving me surrounded with angel choirs and newly opened caves and pathways inside of my heart. And so many questions. I wondered: Is this really happening? And every song sparked more and more songs and poems, that are pouring out of me like clear clean waters from the belly of the earth, and from the center point of my soul. Perhaps we can know the holiness of others, to the extent that connecting with them, through an act of kindness, a prayer, or a song, brings back to us lost parts of our souls, awakening our hearts with love, and an awareness of our own preciousness. A holy man, or woman, in recognizing us, gives us back what is actually ours, inspiring us to sing our own songs, which then heal us. I have experienced a great awakening, an embracing love of all creation, and, in a way, have fallen in love with the reflection in the magic mirror. But rather than being entranced by a vision of self, I see within me the whole world. Because that mirror reflects a deep place inside of me. You could call it my soul, or even, where my soul meets all souls…and so I expand and contain within me ever increasing space, inner space in which to travel to hidden, private lands beyond the sight of the human eye””
“With Lluvia Ácida, we have been making music together for 20 years, always from the Chilean Patagonia. In the beginning, in a context absolutely dominated by Rock and folklore, we made music inspired by the bands that we liked, all European and born of urban and industrial environments. Over time we understood that we had our own environment to inspire us, one in which technology is implemented in wild and lonely places, creating a contrast that is increasingly scarce in our country and the world.
We consider ourselves Explorers, because many of our works exhibited the results of an adventure or an investigation. So it was with albums like, “Tierra de Espectros” (2002), “Antartikos” (2005), “La Idea – Canto a la Federación Obrera de Magallanes” (2007), “Kuluana” (2009) and “Insula in albis” (2013).
“Zonas de Silencio” (Zones of Silence)” is the result of one of these adventures. This consisted of moving the act of Composing and Recording an album and a film outside the comfort of the studio, carrying portable technology to remote locations and abandoned premises of our environment, specifically in the communes of Punta Arenas and San Gregorio. In successive outings between the months of January and May 2014, we managed to record improvisations in places as dissimilar and evocative as a volcanic crater, a steamer rusting on the banks of the Strait, an abandoned lighthouse, a small and little known ranch, the structure of an old fridge, a coal mine, a beautiful cinema closed for more than a decade and a closed hospital. It was our way of merging ourselves with the landscapes that we love, in the shadow of the remains that were left at the edge of the Road of the Magellanes Story.
With “Zonas de Silencio”, we feel that we have contributed another vision of our Frontier Society, one which doesn’t glorify anyone in particular. We are only Ourselves and our Machines, forming a closed circuit but sensitive to the vibrations emitted by the solitary places.”
(Punta Arenas, Magallanes, Chile, January 2015)
This is a musical narrative about one peculiarly untamed outsider who remains unseen throughout his life, even though he himself strives to see all and everything, and thus excluded from the ark of humanity. This is also a story of human corruption, greed and uncontrolled urges – as seen and experienced firsthand by one John Doe who knows not how to fit into this boiling soup of basic human impulses. This is a top-notch moral and psychological dilemma: whether to be part of the human herd or not? Whether to go with the flow into the ark or to stay outside of it, paying the oft heavy price of ostracism? Not an easy choice… Certainly not.
Within the deep caves of our hearts, lies the horrible CONFORMIST ATTACHMENT ARTERY; attachment to who we think/feel we are, to our intrinsic nature as we and others perceive it, and to other objects (real and/or imaginary). This stops the blood flow of our untamed and wild essence. Thus, we become like lost sheep in the pasture, trying to compensate for this catastrophic gap our whole lives, by seeking void-like attachments – to supernatural forces such as Gods and their supposedly holier-than-thou “saints” who can temporary calm down our maniacal craving for breaking apart and self-destruction, to people who might make us feel less-lost-less-lonely-and-less-ostracized, to symbols and rituals which “allow and promote” artificial order in chaos, where there is none whatsoever etc’.
Such is the ark of humanity. And there’s a certain magic realism to this existential game of emotional shadows. But it also has a price, a heavy price at that, and you know what that price is… ‘Tis demanding fee… Is… Y.O.U… That is, giving up on YOUR very raw essence, in the pursuit of a comfortable place in the ark. Which means and suggests a constant battle for survival and infinite make-believe psychodramatic performances.
A moment of wishful thinking, on the other hand… Wouldn’t it be better to be excluded from this ramshackle ark, even if it means living a ghostly existence on the subterranean margins of the human microcosm?
Ponder these dilemmas whilst listening to this odyssey and I promise you this: THE DEFINITE ANSWER WILL MATERIALIZE IN FRONT OF YOUR HALF-CLOSED EYES…