Back with the announced full length album by Matti T from Finland, slightly increasing pace and going into Sunday chillaxing mood and offering soft drops and various film like atmospheres. We look back and try to look forward, inbetween worlds. NetlabelDay Release 2017. July 14th
STREPITVSITVS is the new realisation of musical duo ASOLANMAC PROJECT and meant to be a sort of inner self-reflections as well as a very personal study about environmental connections between people and places: the focus is set on the Montello hill, near the Piave river, pretty close to our hometown. It’s a really peculiar site, where nature, hystory, legends and mysteries are all mixed up together in a unique way. This piece of music fully represent the feelings we share about it and express also the will to define the whole thing like the primal step of an introspective journey through memories and sensations, inspired by that magical location, under the form of an audio description.
Pueblo Nuevo Netlabel is pleased to present “Dos Puertas y un Puente para una Banda Sonora“, album from chilean musician and producer F600.
“The most recent work of Miguel Conejeros, aka F600, corresponds to the soundtrack for the artistic installation “Dos Puertas y un Puente para una Banda Sonora (Two Doors and a Bridge for a Sound Track),” a collaborative montage between Miguel and the artist Rodrigo Vergara. The work, which combined sculpture and music, was exhibited in the International Museum of Chile – Gallery MICh, in Santiago, Chile, between the 17th and the 24th of June 2016.
The sonic montage in its original version was developed in a multichannel (5.1) format, in order to be appreciated by the viewer/listener as he or she transverses the space of the exhibition, where the sounds are released from the four corners of the hall, projecting a sensation of spatiality and movement, in contrast to the apparent inertia of the sculpture.
In the words of Sebastián Riffo, Director of the Gallery MICh, “The pieces exhibited were erected from the concrete, free of abstract sentimentalisms, interior life and/or conceptual and/or symbolic over-determination. They were there, alone, supported above structures of metal in order to say nothing. They wouldn’t share stories, messages, nor morals, they were only embedded in our floor and extending themselves through space. Of a palpable nature, realizing distinct material layers and sounds, as if dealing with geological strata; enigmas impossible to resolve without the help of an attentive ear and a dilated interest.”
This disc contains a demonstration in stereo of the work of F600, valuable as a historic register of the creative processes of Miguel, moreover, it provides the listeners the possibility to appreciate in a new instance the materiality of his sounds, those that are capable in and of themselves, of telling us this and other stories, of opening doors and laying new bridges.”
(Santiago, Chile. Octubre / October 2016)
“The intimate and unrepeatable process of the construction of this piece is captured through the sounds that inhabit the studio.
They are the acoustic frequencies from the manipulation of the distinct elements that raise the scaffolding of this sound track.
Much like the materiality of a sculpture is intervened with pigments, molds, and tools: the captured sounds are processed electronically and digitally, imprinting their own character in the result.
‘Dos puertas y un puente para una banda sonora’, is an exercise in congruence between materialities that plant themselves like a tale of a tactile, optic and acoustic construction in order to be traversed, contemplated, and inhabited from their interior.”
Miguel Conejeros (aka F600)
(Santiago, Chile. Junio / June 2016)
Visual artist. He has participated in more than 40 expositions, including 6 individual. His work has been shown in diverse countries in Europe and America, and he has also been published in more than 25 media specialized in art, as much in Chile as foreign. He has obtained three distinctions in concourses and 5 state financed grants. He has realized residences in Brazil and Argentina.
“With Cockiness Do I Warn World-Weary Deities, Teaching Myself In The Course To Be Courteously Carefree, Dee! Dee! Bridgewater! Biblical Mourning Verses, Hence, Proudly Project Anxious Molten Loops, So Don’t Be Such A Simpleton, Let’s Vote For An Earthly Workday Forever, Shall We?”
His work methodology focuses mainly on the capture, extraction, editing and storage of audio samples from different sources:
records on the street
audiovisual edits and converts of radio signals and many other sources.
Transforms, relentlessly, curtails, beheads and sews sound works from different backgrounds and authors, providing the glue that comes from analog-digital instruments and audio processors and resulting in a “sound narration” split into parts.
His sound works do not drop below 20 minutes for just such narrative, where there is a development from defined introduction to epilogue.
Detests the “digital finishing” of sound with a computer. For that reason dirty, gnawing and saturated sounds prevail (but without spoiling the record), thus achieving kind of a sound archeology.
His creative concepts pursues mysticism, the occult, time,
religions, the process that leads to contemplation,
the silence, the pause, the suspension, death and upstarts.
No musician describes himself
according to their own words.
“What I do not see myself as music, I do not feel musical, I not position myself musically.
I DO NOT THINK musically, I’m more close to the investigation,
to the pamphleteer, the readymade and the situation.
Even so shamanic
No rhythm and no melody that dominates the whole picture.
Abuse of rhythm and melody is a necessary evil for those who can not handle a drift.
It’s like being in a large room without light. You need to touch the walls and artifacts that fill the room to feel welcome in the position and perspective.”
“Jorge Grela invites us to explore three landscapes in these compositions. The triad ‘Expande‘ (Expand), selected for dance, contains atmospheres from the cavernous to the aqueous, giving use to – among other resources – field recordings, bass pulses, abrasive textures and melodies realized with samples and synthesizers. The use of panning marks dissimilar spaces that converge and establish themselves in the perception of the audience, giving to this disc a characteristic that is of utmost importance in works composed for the stage: that of stimulating the subjectivity and imagination of the spectators, in order to promote a state of immersion in the presentation”.
Miguel Jauregui (aka Basstk)
(Valparaíso, Chile. Agosto / August 2016)