An industrial manifesto against work and capitalism.
I’ve made a new year album: The Angle Between. Happy 2018!
There’s a new framework:seasonal series with one of my rain recordings.
“The framework:seasonal series of fund-raising audio releases continues with issue #8, another superb compilation of previously unreleased sounds by artists working in the field recording community. this selection features new names as well as several you’ve certainly heard before, all of whom are new to framework editions‘ release series. blanca rego, christopher delauranti, christina kubisch, stephanie spray, darius ciuta, cathy lane, julia hanadi al abed & lou mah al abed ratier, martin kay, magali babin and rodolphe alexis.”
This is a bit old, from 2012, but I’ve found it now on one of my hard disks…
Graphic Mark is a conceptual sound piece based on the Radius logo. Instead of using audio software, I used graphic software. However, Graphic Mark is not an arbitrary audification of data; rather, it is a direct translation made by converting the original image file into a sound file. The work is a reflection upon the relationship between image and sound, and also of synesthesia and what is gained and lost in translation.
In this case, all sound recordings are from Galicia (mainly A Coruña) and Catalunya (mainly Barcelona), the two places were I’ve lived during long periods of time—in fact, the podcast starts with a recording made at my childhood/teenage bedroom and ends with a recording made at one of my last places at Barcelona, the only flat where I’ve lived alone.
You can listen to the podcast and find more information about it at Framework Radio.
Some music from this year. I don’t know if there’s gonna be Utternoise December or whatever, but right now I don’t have much to do…
At some point during the 2000s I used to go to gothic clubs. I’ve never been a darkwave or synthpop fan, but there’re some specific songs from the 90/00s that I like, and another ones that I find pretty kitsch and funny.
Some dark synthpop German bands, as And One, are really funny; Wolfsheim are a little too pop for me but they have some good songs; other bands, as Beborn Beton or De/Vision, are just too bland and cliché. In any case, what I find interesting is the fact of listening to that kind of dark music at night clubs; it’s a bit incongruous, to say the least, but it’s also intriguing.
The German dark synthpop from the 90s evolved into something that I find much more interesting, bands like Haujobb and Klangstabil. Haujobb, Klangstabil or Alec Empire are not darkwave or synthpop per se, but synthpop have some things in common with electronic industrial music, and most gothic clubs play both kinds of music (among a lot of other things).
I genuinely like And One, and some specific albums by Wolfsheim and Covenant, but I prefer Haujobb and Klangstabil. In fact, Klangstabil is one of my favourite electronic industrial bands—Taking Nothing Seriously is a really great album. I’ve seen a lot of these bands live here (in Barcelona) and at some German festivals, as Wave-Gotik-Treffen and Maschinenfest, and I have some good and fucked-up memories of that time…
“Cities, like dreams, are made of desires and fears, even if the thread of their discourse is secret, their rules are absurd, their perspectives deceitful, and everything conceals something else.”
Invisible Cities, Italo Calvino.
Some time ago a friend told me that my musical tastes are so weird and disparate that he never knew if I’d like something or not. I don’t think that’s true, I think that my musical tastes are pretty obvious and logical. In fact, I have another friend who always know if I’m gonna like something or not, so I guess that when you don’t understand someone or something is just because you don’t vibrate on the same frequency.
The first mix of this post is something that I did some months ago for MUTEK[ES], RNE3 and Hunger Culture. It was the first time that I did a podcast for a radio show and I did something pretty complex and layered, mostly using experimental music and noise because that is what I listen to most of the time.
The second podcast (it’s not really a mix because the songs are not mixed, just organised) is completely different, it’s something that I did one boring and sad afternoon. The truth is that usually I don’t listen to this kind of music, most of these songs are things that I listened to when I was younger, but when I’m sad or angry I tend to listen to these kind of things. Even this is completely different from the mix that I made for MUTEK[ES], I think that there’re a lot of things in common between this kind of dark love songs and the kind of experimental, abstract and noise music that I listen to nowadays.
Maybe the bridge between both things is Einstürzende Neubauten. I mean, bands like Pan Sonic or labels as Raster-Noton owe both Einstürzende Neubauten and Erkki Kurenniemi. In any case, for me the bridge between rock and electronic music was Nine Inch Nails, that probably is the band that best explains my personal imaginary (at least Pretty Hate Machine, Fixed and The Downward Spiral, I’m not really interested in what they’re doing right now).
Even I guess that I’m quite “dark”, truth is that I’ve never listened to gothic rock, alternative dark rock and the like. I’ve never been a fan of bands like The Cure or Cocteau Twins. When I was a teenager my favourite albums where Dirt by Alice in Chains and Badmotorfinger by Soundgarden, that are really dark and depressive, but not “gothic” at all. In my early twenties my favourite albums where To Bring You My Love by P.J. Harvey, Let Love In by Nick Cave and Pretty Hate Machine, Fixed and The Downward Spiral by Nine Inch Nails. Then I started to listen to more experimental things, mainly noise and electronic music, and nowadays I can’t stand most things with “real” instruments or lyrics.
I think that at some point I started to find sound more interesting than music, and I started to think that music is the capitalist organisation of noise. So now I hate music – fuck music, bring me the noise.
That said, I must confess that I can’t listen to Depeche Mode without crying because it reminds me of someone (“I always loved the night and now you offer me eternal darkness”), that I love Dead Man’s Bones (“The smell of my breath from the blood in your neck”), and that I like some George Michael songs (“But Wednesday was the best day, because on Wednesday night we made love”). I’m human and I have my contradictions…
“The digital universe keeps expanding, from the desk and the laptop to our mobile screens and beyond. Wired objects, buildings and city streets are part of our daily landscape, a chaotic and noisy electronic environment where fiber optics and radio waves intersect and connect everything to everything else.
While we speak of clouds and are invisibly linked to them, a vast and heavy infrastructure is needed to support the internet: from transoceanic submarine cables to large data centers on the edge of town, from servers and robots to call center and factory workers. Global capitalism makes noise. When so many of the world’s decision processes are hidden from view, or recombined and filtered through the 24 hour news cycle, what is the role of sound in understanding contemporary politics?
How can we decipher, reveal, or keep the world’s secrets by listening to its digital communication system?
Computers talk to each other all the time, in code and in voltage, almost telepathically and at the speed of light. This is a conversation that excludes those of us unable to read between the lines or who are deaf to this soft music. To live in the world today is to be surrounded by a constant humming, the body electric, the senses extended and transformed by all that we own, all that we have built. We live inside the machines.
What does it sound like?
Selected works will be broadcast and streamed by stress.fm between 30 of November and 1 of December 2013.”
_blank // Barcelona, Spain
Aline Dufat // London, United Kingdom
ARTxFM // Louisville, Kentucky USA
Carlo Patrão // Portugal
Elisabetta Senesi // Florence, Italy
Estelle Rosenfeld // Ramsgate, United Kingdom
Fernando Fadigas // Lisboa, Portugal
Jan Van Den Dobbelsteenr // Eindhoven, The Netherlands
Jeff Kolar // Chicago, USA
Jenni Stammeier // Helsinki, Finland
Joanne Lam // Toronto, Canada
João Bento // Lisboa, Portugal
John Barber // Vancouver, USA
K. Novotny // Łódź, Poland
Kevin Logan // United Kingdom
Kristiana Clemens // Kingston – Canada
Luke Eldridge // Market Harborough, United Kingdom
Marcus Neves // Vila Velha, Espírito Santo, Brasil
Mark Hardy // Chicago, IL, USA
Matt Warren // Hobart, Australia
Miguel Lucas Mendas // Lisboa, Portugal
Osvaldo Cibils // Trento, Italia
Peter Lenaerts // Brussels, Belgium – Sydney, Australia
Random Order // San Francisco, California – London, United Kingdom
Salomé Coelho // Paris, France
Sierra Mitchell // Chicago, Illinois, USA
Simon Serc / Pharmafabrik // Slovenia
Tom White // London, United Kingdom
Virginie @ OSX // Odemira, Portugal
I love this conceptual project by Johannes Kreidler. Songs with the word “silence” in the title stretched to 4’33” duration.
• Split Series #4 (1999)
AMM / Merzbow
[I only like the track by Merzbow]
• pH (1993)
• Panasonic (1994)
• RV8 (2013)
• Super.Trigger (2013)
• Active Listening / The Act of Listening Episode 78 (2013) [listen]
• Music For ‘The Dead Man 2: Return Of The Dead Man’ (1995)
• Welcome Oblivion (2013)
How to Destroy Angels
• The Place Beyond the Pines Original Score (2013) [listen]
• Mantle (2013)
• Out of the Ordinary: Episode 2 (2013) [listen]