This album of ‘noise’ music arises as a sort of vindication of noise, an attempt to rescue its expressive musical possibility through processes of dirtying sound, giving rise to the album’s name, “Texturas Contaminadas”, insofar as this alludes to the acoustic contamination caused by noise. This contamination originates from a dialectic between texture and gesture, developing a sonic stability that is abruptly interrupted by changes of energy within the work by means of noises that disorient the listener’s auditory perception.

This proposal arises as an attempt by its creator to stray from the traditional and conventional ways of music, to move away from known patterns and give space to the birth of a work whose main characteristic is originality, insofar as the randomness that is included in each of the compositions allows it. Precisely, it is she who orders and at the same time turns into chaos the sounds that make up each of the contaminated textures that comprise this work. In effect, the artist ultimately seeks to provoke a deep symbiosis of order and disorder, mixing antonyms that immerse the listener in a continuous perplexity and auditory tension that would not otherwise be possible.

Thus, the intention of “Textura Contaminada # 1” is to offer the listener a continuous noisy vibration that proceeds through moments of predictability and unpredictability, but which in reality is constantly changing, because it is the habitual auditory perception that allows the listener to be convinced of a stable sonic movement – that is, of progressing through a texture that articulates with small fragments of disruptive spontaneity, thus achieving sonic equilibrium.

Along the same lines, “Textura Contaminada # 2” also offers a mix of stability and chaos, but this time in order to develop a sinister atmosphere. The sounds now emerge as triggers for a suspense that transforms the sonic universe into a journey in which the waves move at the same time from the left to the right channel and vice versa, as those who listen are transported without knowing the destination, not being able to predict the parameters of sound, making the listener reside in an environment where the most obvious sensation is the terror of being lost among brittle, roaring, and reverberating noises that appear suddenly in the work and completely alter the reference points that the listener was accustomed to before these appearances.

Finally, “Textura Contaminada # 3” closes the album as a manifestation of madness, in the sense of being a sonic conjunction of various rhythms that baffle the listener when he or she perceives the presence of a message that cannot be heard, as if he or she will deal with a voice that is obscured by noise and cannot be articulated linguistically, allowing the latter texture to be perceived as a battle between different types of language, where the voice struggling to be heard is inevitably interfered with by the noise that triumphs amidst this tension. We can perceive this victory as an intentional mechanism of the composer in order to show the deep possibility of noise as a means of expression, which is born with an overwhelming force as a an auditory potentiality that pushes the listener across a tightrope on which balance can always be lost.

It is not easy traverse through it, but each step constructs the path by which human beings make room for their deepest contradictions and noise for their most unsuspected expressions, thus “Texturas Contaminadas” is a path of musical uncertainty that is as much uncomfortable as it is exciting and whose listening experience enriches listeners to the extent that it allows them to venture into a work in front of which our ears are absolutely unaccustomed.

María Gloria Vallejos Lamig
Filósofa y Poeta / Philosopher and Poet.
(Santiago, Chile. Agosto / Agoust, 2020)