Crónica 074~2013 download
Release date: 28 January 2013
- Miguel A. García: Monnom (17:47)
- Durán Vázquez: Hertz, Gigahertz (23:44)
2013 marks the 100th anniversary of Luigi Russolo's letter known as L'arte dei Rumori, a Futurist manifesto usually quoted as being the landmark that pointed out incorporation of the so-called noise in the western musical tradition. And ten decades may seem to be a lot of time but the truth is that Russolo's legacy (not to mention that of others who came later) is very far from the political consciousness and the cultural imaginary of the most people.
A characteristic mark of the present time is the huge, ever growing, gap between what most people know about the world and what professionals in every single field of study know. This is also true among professionals from different fields (each hand doesn't know what the other is doing). The split of the atom is still now vanguard science in popular consciousness. Genetic manipulation, nanotechnology, geoengineering or weather modification are only blur and cryptic notions at best, or simply unknown matters. Not to mention their military applications. And all this despite the naïve Futurist ode to progress and speed.
However, the Futurist ode to war had better prospects. The possibility of a global massacre is coming into view but, by means of the networks of mass media disinformation, artificially created ignorance takes this possibility out of public understanding. So it is common thinking that any kind of worldwide conflict is not possible any more. Particularly in western countries there is (or there was until now) a widespread feeling of “no U turn”, a feeling of stepping forward in history with no way back. However, many signs in the last three decades indicate the contrary, the last few years in particular revealed quite significant strategies which involve companies, institutions, governments and agents all over the world which are implementing very clear politics of military, social and economical extermination. Humanitarian crisis, climate crisis, economic crisis… only smoke screens based on public relations principles in order to cover the sole and actual crisis: debt by war. Still, extermination is the means, not the goal.
This mentioned above is not a culture of secrecy, because crime is being committed before our eyes, but the way it's called or how we (are taught to) refer to it, maintains the consciousness of that crime safe from discussion and controversy. To say humanitarian operations instead of military conquest; community of nations instead of empire and its allies; poverty instead of colonialism; news instead of propaganda… And this play on language is part of the “artificially created ignorance” politics. The oppressor-living-inside-the-oppressed notion by Paulo Freire becomes fundamental in understanding that ignorance as a social and global phenomenon.
The taught spiritual poverty can be tracked in the particular field of creation with sounds, where it's common to state a clear difference between music and noise, either on purpose to run down noise, either to take noise as identity sign of pretended role critic on prevailing social order. However, such a difference between music and noise is doubtful, if not completely wrong. Moreover, many people in Western countries who tend to describe themselves as politically progressive don't agree with experimental sound aesthetics. But nothing is more suspicious than the statement claiming the track shouldn't sound like that. And this is because, despite what musical press allows to understand, sound creation aesthetics are not a specific aesthetic, nor a concrete trend, nor a fashion, nor a defined form or a defined consumer good. Creation with sound is sundry and unsettled. We are not saying music, but also music… and many other things. And we are saying experimental as a manner of saying non-music in a traditional sense according to a preconceived formula. So there's not a “it should sound like…”. If it sounds, then it is. And if it is, then it doesn't need moral, legal, religious, political, scientific or historical justification. Then, what people who disapprove of certain musics (those that do not fit inside the traditional boundaries of music) are doing, is to legitimize the given tradition as an untouchable and non plus ultra fact, as a sacred reality conceived in a religious and oppressive sense. And this is a manifestation of the oppression inside the oppressed.
People who do not like experimental music are, in their own moral code, bad people. However, this does not ensure that people who likes experimental music is good people. And in fact Italian Futurists seemed to be really bad people.
Durán Vázquez, 2012
Miguel A. García (aka Xedh) from the Basque country, is one of the most dynamic sound artists in the Spanish scene. His work focuses mainly on the composition and electro-acoustic improvisation. He uses sounds taken from electronic devices residues, often interrelated with field recordings or acoustic instruments, in the search of an intimate, intense and immersive experience. A music of adventurous forms, full of contrasts and having nevertheless a sense of humor. His background comprises fine arts and audiovisual technology, having created projects such as Válvula Antirretorno, Baba Llaga or Mubles, questioning the borders between electro-acoustic academic music, industrial music and the so called outsider music.
With his solo project, he has participated in experimental music festivals all over Spain, as Ertz (Navarra), Experimentaclub (Madrid), Lem (Barcelona), Mem (Bilbao) or Sonikas (Vallecas), and he has played in diverse scenarios such as Auditorio Nacional de Música (Madrid), or museums such as Artium (Vitoria), Guggenheim (Bilbao), Macuf (A Coruña) or Vostell Malpartida (Cáceres). Outside Spain, he has played in festivals in Germany, Belgium, USA, France, The Netherlands, Norway, Poland and Portugal. His work has been released worldwide by labels as Copy for your records (USA), Homophoni (USA), Pilgrim Talk (USA), Slaughter Recs (Italy), Trait Central (USA), Triple Bath (Greece), Zeromoon (USA), or White Line (UK).
Still a young member of the international free improvisation scene, he works regularly with Tomas Grís, Oier I.A., Xabier Lopez, Oscar Martin (Noish), Seijiro Murayama, Hector Rey or Artur Vidal. He has collaborated with arists such Lali Barriere, Alexander Bruck, Coeval, Raul Dominguez, Richard Kamerman, Wade Matthews, Jorge Nuñez, Carlos Suarez, Rinus Van Alebeek or Valentina Vuksic, and bands like Cooloola Monster, Gora Japon, maDam or Hamburguesa Vegetal. As a promoter, amongst other projects, is the founder of the Club Le Larraskito and director of the Zarata Fest, both platforms in Bilbao and dedicated to the broadcast of challenging music.
Durán Vázquez was born in Vigo on 1979. He started recording his work at the beginning of 1998, using self-taught methods and without prior musical formation. His work is mainly focused on audio creation, radio-art and live performances. Occasionally he composes tracks for cinema, sound-art contests, audio collaborations and his own audiovisual pieces and covers for demos. He produced the fortnightly radio program Radio Mil Colinas for Rádio Zero and Radio FilispiM, and currently the Spanish version for Radio Rakumin.
He played at festivals like Sónar (Barcelona 2004); LEM (Barcelona 2004); Experimentaclub (Madrid 2008); MEM (Bilbao 2008); In Sonora (Madrid,2009); RadiaLx (Lisboa, 2010); ZarataFest (Pontevedra, 2012), also at sound-art events like ArtEx Sonora showcase (Contemporary Art Museum Unión Fenosa, A Coruña 2008); Concerts at LIMb0 (Modern Art Museum, Buenos Aires 2007); Ciclo Vibra (Valencia, 2009); Natal dos Experimentais (Sala Passos Manuel, Porto, 2009); Vigotransforma (Vigo, 2010), and venues like Contemporary Art Museum (Vigo 2003 and 2007); Maus Hábitos club (Porto 2004); Fine Arts Faculty (Pontevedra 2005); NASA club (Santiago de Compostela 2006); Spanish Cultural Centre (Montevideo 2007); Galery DF (Santiago de Compostela 2008 and 2009); Club Le Larraskito (Bilbao 2008); Cervantes Institute (Berlin 2008); Alg-a Lab (Vigo, 2009); Goethe-Institut (Lisboa, 2010); Casa Atochas (A Coruña, 2010); Vigosónico (Vigo, 2011); Teatro Ensalle (Vigo, 2012).
- Composed by Miguel A. García.
- Additional sound sources by Sergio Remacha.
- Mastered by Juan Carlos Blancas.
- Cover art by Mario Bastian.
- 00:00, Earthquake Synthesis Mechanics (gathering watts)
- 05:31, Earthquake Synthesis Mechanics (EMPs)
- 11:59, Earthquake Synthesis Mechanics (power-beaming fields Part 1)
- 19:02, Earthquake Synthesis Mechanics (power-beaming fields Part 2)
- Composed by Durán Vázquez.
- Mastered by Miguel Carvalhais.