“An anthropological journey…” —a concept I overheard from one of the attendees at the end of the presentation by the trio led by Fake Samo (computer, composition), plus Edén Carrasco on tenor saxophone and Francisco Sánchez on drums, last August 7, date on which was presented live this album that today you can know, listen and appreciate in its digital version.
As a privileged witness to the history of this recording, which took several months to reach its final form, I can only highlight the result, both in its digital recording and in its performative aspect—two sides of the same coin, or rather, a mirror that faithfully reflects either side of its surface. “Interzona”, the concept that gives this album its title, originates from the idea developed by William S. Burroughs in his novel Naked Lunch. This concept connects to music in multifaceted ways, as Burroughs’ work has profoundly influenced musical culture, especially in electronic music, punk, and experimental rock, with a particular emphasis on Free Jazz in this case. Burroughs’ “Interzona”, as a concept, has become a powerful metaphor for musicians seeking to explore and transgress the boundaries of artistic creation, particularly in genres that value experimentation and the breaking of conventions.
With his computer, software, mouse, attentive ear, and remarkable auditory memory, Fake Samo invites us to engage with his own musical interests, bringing together both performers (Carrasco and Sánchez in this case) and listeners to be part of this collage of crossed references, chaotic worlds, alienated dreams, and ruptures in reality. As in John Cage’s “Music Circus”, where everything and everyone can sound at the same time, this album might evoke the sounds of Throbbing Gristle, Swans, Can, Peter Brötzmann, among others that are sonically more recognizable.
In just over half an hour, “Interzona” unfolds in roughly four movements, with abstract preludes, noise-laden crescendos, and mysterious endings, where the blend of multiple sound layers finds its defined space, shining through and making itself heard. With the recording and pre-mix by Antonia Valladares and the hands of AtomTM on the mixing and mastering, this should come as no surprise. What should be noted, however, is how the realization of an idea that seems simple in its conception can come to such a strong conclusion, both aesthetically and conceptually, becoming a powerful proposal and a manifesto of the will to create.
Mika Martini
(Santiago, Chile. August 2024)
