ladrillo:
There’s always some dialogue, a melody or a particular phrase that lingers in my mind after watching a movie, and these fragments become leitmotivs within my imaginary sound world for days, weeks, or even years afterwards. I wanted to integrate some of these in the mix, where they work probably as multipliers of meaning within the narrative. Film became increasingly relevant when I was making the Commotus album, but I was thinking more about imaginary landscapes then, whereas on the new album, film played a key role. I picked around 10 movies I’ve been heavily resonating with during the past year. While recording I used to play these movies on mute and sometimes just randomly, I was turning up the volume for a second while playing back the stems I was working on. Since I am not having any collaboration from other musicians on this album, these movies became the external shifter elements, the vectors of disorientation, guides to other moods. This way my temperament wasn’t the only thing determining the album’s direction. The mix slightly exposes some of the resources used on the new record, like frozen tonalities as bridges for change; they illustrate a certain attention, or the care involved in the levels of the mix, which leads to doubt as to whether or not a melody was there all the time, when it appeared or if it had disappeared completely. There are sudden brakes in the narrative, an inversion of meaning through dialogue and texts being brought out of context. It also has musical references that relate to both albums, like the boleros that were very important references to create Commotus, or how the headphonic pieces and soft pink films are important to the new album. While I am making a new record, work becomes a compulsion. My routine changes completely, dreams and thoughts become louder and more intense, conversations more enjoyable and graspable, ordinary walks become remarkable; I’m able to materialize what besets consciousness, self-estrangement rises, as does my affectation.

tracklist:
[00:00] Frank Gartner – “cloud environment”
[00:05] Asmus Tietchens – “p1 (micro snippet)”
[00:11] Vittorio Gelmetti – Opening track of the film Deserto Rosso
[00:27] Nuts & Co – “La Vie Des Animaux”
[01:33] Patty Waters – “Black is the colour of my true boy’s hair (snippet)”
[01:50] Tod Dockstader – “Rotary”
[02:28] Felix Kubin & Coolhaven – “Der Bleiche Beobachter (snippet)”
[02:42] Winona Ryder – Dialogue from Night On Earth
[03:54] Esther Ferrer – “Radio Web Macba podcast FONS # 1 (snippet)”
[04:13] Felix Kubin & Coolhaven- “Der Bleiche Beobachter (snippet2)”
[04:39] Frank Gartner – “Shudder and Shimmer”
[05:02] Brian Eno – “Jungles”
[06:32] Snippet from Sans Soleil
[06:35] Jason Grier ft. Julia Holter – “Karma”
[09:25] Ellen Burstyn – Dialogue from Providence
[09:35] Fondation – “Spirale”
[11:39] Girona with Consell de Cent – Recording from the Chamfer, Barcelona, April 2013
[12:56] Matilde Díaz – “Te Busco”
[15:38] Gena Rowlands – Dialogue from Faces
[15:44] Young Marble Giants – “Have Your Toupee Ready”
[15:44] PÉREZ (Sara Fontán + Lucrecia Dalt) – “Jiff (miniatura 2)”
[17:24] Japanesse Bolero – taken from the soft pink movie Daydream
[18:47] COH – “Path # 1”
[18:59] Snippet from the film 2 Ou 3 Choses Que Je Sais D’elle
[21:30] Bradien – “Nemoroso”
[23:38] Frank Gartner – “The Moon”
[24:49] ‪Λένα Πλάτωνος – “Έρωτες το καλοκαίρι”
[27:10] Ryoji Ikeda – “Headphonics 1/0”
[29:43] Snippet from the podcast “Probes # 2.2” by Chris Cutler for Radio Web Macba

merci encore to Birkut

Imprivisation: Sara Fontán and Lucrecia Dalt

venue: Miscelanea (Calle Guardia 10, Barcelona)

21h

And that’d be sometime after 21h in a space called Miscelanea which is located in a street in Barcelona called “guardia” numer 10, a very white space.

If you’d like to invite her a drink she likes red wine or bourbon.

Woebot:

if you don’t know him you should listen to The Riddle, a magnificent mix and selection of recordings by Woebot between 2008-2011 which I’ve been listening to countless times. Thanks to Matias Rossi for introducing me to his music.
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Gudrun Gut:

If you don’t know her you should check her incredible album “I put my record on” which I’ve listened countless times, I remember being stuck once in the chilean airport, this album was an amazing companion for my long hours waiting. And there’s also her fantastic record label Monika Enterprise with whom I released 4 songs in the third volume of 4 Women no cry. Thanks to this project I met and tour together with Eleni Adamopolou (Giganta, Manekinekod), Julia Holter and Tusia Natalie Beridze (TBA).
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Ekkehard Ehlers:

If you don’t know him you’d probably need quite some time to get into his vast body of work, but I’ll just point out two things, the “plays” specially the John Cassavetes pt. 1 and this song very special to me back in 2005 when all I listened for some months was this Childish Music Compilation by Staubgold.
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Jason Grier:

ah! perhaps he doesn’t know how essensial this record is to my existence. I’ve listened countless times. I can go on the road for 7 hours just with this record and that would be enough. And I am so happy to be part of Human Ear now, so much people I admire that have been around HEM’s becoming.
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:papercutz:

if you don’t know his project you can start gettin immersed in this atmosphere I love the surprises and wideness this remix brings.
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Los Amparito:

If you don’t know Pesina, you should listen to this gorgeous song. I’ve also colaborated in his fata morgana song.
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XHGC:

This was a spontaneous mix that came from another project by Pesina!

These remixes are now part of the download card that comes with the Commotus LP released by HEM.

Commotus is now available in stores in North America and via Forced Exposure

et puis,
il faut bien exploser la maison,
il faut bien exploser l’image de la maison
il faut bien exploser le souvenir de l’image de la maison.
il faut bien exploser une portion de temps dans laquelle nous étions impliqués.