We are very pleased and grateful to share Huesos Secos (Dry Bones), by Mariano Rodríguez through Carbono Proyecto Records. The idea has been brewing for a long time now, but as we know, in our sound, musical and self-managed projects, if we have anything, it is the freedom to let the processes flow until the ideas and personal planets align.
It’s been already four years since we last published a disc by this guitar artist-craftsman-monk based in Bariloche for a couple of decades. It was Praise the Road, first edited by the American label Grass-Tops Recordings and currently available through his own bandcamp. Anyway, he frequently participates in various compilations that range from the experimental to specific tributes such as the recent one to Jack Rose, another of Mariano’s acoustic guitarists of reference.
In many ways inspired by the logic of the “American primitive guitar” (a term that designates a “transitional” genre according to Wikipedia, to which a legion of guitarists from pioneer John Fahey in the 50-60s, through Leo Kottke, Robbie Basho and the aforementioned Jack Rose until today), Mariano Rodríguez’s music does not focus on the technical deployment of the guitarist, but on the more spiritual or meditative dimension of it. And in connection with all this, although not as conditioning, of course, his deep Christian faith intervenes since his adherence to the theology of Third World liberation. Listen for example to Liberation Theology for beginners, described by him as a Christmas album.
Somehow the tracks that make up Huesos Secos synthesize the mental and sound journey that Mariano started with his family in southern Argentina. This experience was also rooted in half of his life living in Buenos Aires, forming part of different rock and punk bands, and projects with the excellent singer-songwriter Adrián Paoletti among others. But without a doubt his current music is an inseparable part of a Patagonia that he has made his own, resignifying a whole set of influences, which finally act as tools to establish a back and forth movement with his perception of those places of the Argentine interior and its story.
PLASTICITY
New Language Collaborative live@Suddenfest/Dorchester Art Project Boston
Ellwood Epps trumpet
Glynis Lomon cello, aquasonic and voice
Syd Smart drums
Eric Zinman synthesizer
1) Pulse
2) Propulsion
recorded by Dave Peck November 12 2019 Dorchester, Boston, MA USA
credits
released January 29, 2020
Adrian Northover (soprano saxophone)
Lukax Santana (percussions)
Daniel Thompson (acoustic guitar)
recorded at oxo studios, London – 05/12/2018
all music by Northover / Santana / Thompson
photo & cover design by Adrian Northover
saxophone/reeds, recording: Vladimir Luchansky
mastering: Ilia Belorukov
curating: Tiago Morais Morgado
Vladimir Luchansky (b. 1990) – composer and improviser from Saint Petersburg, Russia. He worked with musicians from all over the world such as Oliver Lake, William Parker, Assif Tsahar, Tim Hodgkinson, Glen Hall, Ilia Belorukov, Mia Zabelka, Matt Mottel, Kevin Shea, Alexander Markvart, Roman Stolyar, Sergey Belichenko, and many others. A member of International Society of Improvising Musicians, he performed in North America and Europe with solo gigs and in various combos. He interferes with all kinds of contemporary improvisational music from noise to free jazz and multidisciplinary arts.
Ilia Belorukov is a musician from Saint-Petersburg, Russia. He works in the directions of improvised, noise and electroacoustic music. He’s a member of different projects with local and foreign musicians. He collaborates with artists who work in other musical directions (from hardcore and metal to academic contemporary music); with dancers and painters; with theater. Ilia practices an experimental approach of sound extraction on alto saxophone with objects, uses electronics and other instruments. Also he is a founder of Intonema label (www.intonema.org) and one of curators of Spina!Rec label (www.spinarec.bandcamp.com).
Tiago Morais Morgado | Violetista e laptoper, estudou música clássica, musicologia, informática música e sonologia na Artave, na Esart, nas universidades Nova de Lisboa e do Minho e no Conservatório de Haia. Curador da editora Nachtstuck Records, que criou em 2014. Seleção de concertos: Frequency, na final do Termómetro Unplugged 2005, Alfândega do Porto; Orquestra Artave (viola tutti), com António Rosado e Ernst Schelle, Coliseu do Porto, 2006; Quinteto Pedro Lopes, David Filipe, Tiago Morais Morgado, António José Oliveira e Denis Ferreira, Casa das Artes de Famalicão, 2006; Tiago Morais Solo, Teatro a Barraca, 2010; :papercutz, no Inslington Metal Works de Londres (Reino Unido), no SXSW Austin (EUA) e no Exit Festival (Sérvia), 2010; Encerramento do ciclo “Colaborações Improvisações”, Serralves, 2011; Sonology Electroacoustic Ensemble, com Peter Evans, 2011; Com Yedo Gibson e Ofir Klemperer e como Tiago Morais Solo, no Studio Loos Den Haag, Holanda, 2011; Tiago Morais Morgado Solo, Fiber Festival Amsterdam, Holanda, 2012; Visuais, A First Approach to Morgenstra – Juan Marco Albarracin, 2012; Arnold Schoenbergzaal; Com Nicola Casetta, Maskarade Sinzine; Com James Hewitt e Renato Meganha Ferreira, Leo Svirsky House, Holanda, 2012; Tiago Morais Morgado solo, Kees van Barenzaal, Holanda, 2013; Com Teresa Matias, MNS, 2013; Com Stelios Manousakis, Museu de Arte Contemporanea de Vigo, 2014; Festival O Mundo Somos Nos, 2014 e 2017; Festival Dias de Música Electroacústica, 2015 e 2016; Moita Mostra, 2016 e 2017; Serralves em Festa, 2017; Com Marcelo dos Reis e Sérgio Tavares, MNS, 2017; Jose Lencastre Nau Quartet, MNS, 2017; Ocupa #2, GNRation, 2017.
En octubre de 2019 se generó un estallido social en Santiago, a partir del alza de los pasajes de Metro. Primero fueron los estudiantes secundarios, con las evasiones masivas a este medio de transporte. La represión del gobierno fue creciendo, hasta que un día viernes la crisis estalló. El cierre del tren subterráneo generó que toda la población de Santiago se desbordara a las calles y generara protestas espontáneas y descentralizadas. Sin líderes, sin caudillos, las masas se tomaron las esquinas con barricadas y cacerolas, con la intención de hacerse oír. El gobierno y sus oídos sordos, con sus acciones autoritarias y patriarcales, reprimió fervientemente las acciones de protesta, llamando a estado de emergencia, entregándole el poder a los militares.
El pueblo no se asustó, y esta acción convocó al resto del país a sumarse a la batalla por una vida digna, por el fin del saqueo económico y medioambiental, contra la precarización de la salud, el trabajo y las personas, mientras el sector privilegiado se dedica a manipular los medios de información, a alimentar al gran monstruo del espectáculo, y a intentar hacer enfrentar a la gente contra la gente.
Hoy, 22 de octubre, las protestas no cesan, en medio de un toque de queda publicamos estos registros, como constancia y pequeño sample de la sonoridad que existe en Santiago en estos días, que habla también de lo que sucede en Valdivia, Concepción, Antofagasta, Valparaíso, Temuco, Puerto Montt, Rancagua, y en muchos pueblos más pequeños pero igualmente afectados por la avaricia y el desdén de una clase política al servicio del neoliberalismo.
Los cacerolazos se han convertido en la forma de protesta en las calles o en el interior de las casas, que reverbera por la ciudad, se multiplica y descentraliza, envolviendo a una ciudad, a un país, y que esperamos envuelva también a toda latinoamérica.
¡A las cacerolas!
Marco Olivieri – piano
Antonio Valente – vibraphone
Sanjay Kansa Banik – tabla
Photo : Matteo Bellomo
ilia belorukov – alto saxophone, objects, electronics
lauri hyvärinen – electric guitar, objects, electronics
recorded live in graz on november 16, 2017 and brussels on november 9, 2017
recorded by ilia belorukov, marufura fufunjiru and gerard daval
mixed and mastered by ilia belorukov
photo by henri antikainen
Recorded Live at Sala La Fusa (Valparaiso), Chile on March 2019.
Drums: Israel Tenor
Alto Saxophone: Lucas Pizarro
Front cover drawing: MÖÖL
George Cartwright – alto and tenor sax, guitar
Mauro Sambo – electronics, gong, percussion, contra-alto clarinet, zither, electric violin
Cover Art – From the series: “instabilità radicata” – Matilde Sambo 2019
a sonic absurdity around DT, and his friends, in 12 parts
based on the 12-cycle poem Innermost Outlandish Ego by frank ruf
all tracks arranged from live session recordings 2018/19
‘Every beat counts when explosive percussion verbosity is about pennies. Try asking Ben Franklin.’
#c4 #explosivepercussionverbosity #beatbox #breakbeat #lobit
Bruno Gussoni/Flutes
Adrian Northover/Soprano saxophone
Marcello Magliocchi/Drums
Recorded at Bogliasco-Genova/IT
2019, June 12th
All music by Gussoni/Magliocchi/Northover
Photo & cover design by Adrian Northover
z(xW+yV) is a solo project of Kecap Tuyul started spring 2018 while experimenting different ways to generate low volume feedback with small gear. After some tries with one contact microphone and one 1W battery-powered amplifier he developped a modular system on this basis, in order to generate not only feedback, but also feedback of feedback, and feedback of feedback of feedback (…) by chaining amps and microphones in a circular way that blurs more and more the distinction between sound source and sound’s reproduction, between acoustic musical instruments and electronic sound diffusion.
Unlike its first album 3×2(1W+18V) whose 3 pieces where mixes of 2 improvisations, Trois Prises features only raw improvisations played on more complex versions of the set-up (with 3 or 4 amplifiers). Track 1 & 3 contain no edits, track 2 was edited from a longer improvisation.
In the habitable dimension presented by the three tracks that are part of this release, I can immerse myself in that perception and reflect on the air in a vast spectrum. Thus a breeze appears in the form of her voice, to which she decides to tie the rest of the materials that she sonically molds. Sometimes she brings words, at others only tonalities that tighten and loosen the link with the electronic textures but that never try to impose their meaning and their ‘humanity’. From breeze to wind there are degrees of atmospheric pressure where the air is agitated and charged, in this case, dust and static. At various moments along the path that ‘Rea’ or ‘Mina’ lay out, it is this abrasiveness of the particles in suspension that defines the atmosphere, stripped of all dew, open to the sparks and micro-lightning so common when the air has 0% humidity. Mediating its duration, ‘Mina’ displays the sound of rain. But there is no indication of freshness or relief in its appearance, instead it makes the electricity even more palpable (and the added risk of walking through that sound space with feet bare and wet). What threats do those bursts of electronic static that shake the environment carry?
Every so often, as in that pulsating drum at the end of ‘Rea’, I think I’m listening to the radioactivity measurement of a Geiger counter. It is not clean air or purity that seems to matter to Inti and contamination can be felt here as a concept distilled from its negative connotations. Here we breathe strange and invisible agents that will inevitably modify our genetic constitution. Interestingly, I do not perceive an imposition in this action. This possibility is attractive, like a storm in the desert that advances towards us as we wish it to engulf us. Sand that hugs.
Already fused in these volatile molecules, ‘Ciprés (Cypress)’ arrives and the air becomes a whirlpool. We recover our body and integrity to be transported to a time that is not today or here, inhabited by ghosts. An old lament, a couplet, an epic of distance that reminds me of the pain of being separated from that which surrounds me.
So the air and its molecules that compress and expand to shake our eardrums. So the wind, now carrying seeds, now turning poplars. So is the atmosphere of this disc and this geographical and poetic site where Inti is planted to capture the ether and materialize its language.
In this edition, which is undoubtedly an artistic action in itself, for the beloved and respected Pueblo Nuevo label, a valuable Chilean publishing project, Inti plays with the air as well, investing the operation of the dry Argentinian winds. Then the mass of arid and rough air, decides for once to follow the Great Mother Son on its trajectory. Returning over her steps, she climbs the mountain range to look for the baggage of freshness and humidity that she hid there, to return to the sea that saw her leave once.”
j.crowe
(Tunuyán, Argentina. Julio / July 2019)
