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A random trio
Ernesto Rodrigues - viola
Paulo Chagas - oboe
Nuno Mourão - percussion
The live performance was halted abruptly because of an unusual accident with the viola. This occurred at Creative Fest 3, Lisboa 2009
The Ukrainian composer Thomas von Hartmann (1885-1956) - contemporary of Schoenberg, Kandinsky and Nijinsky - wrote in his essay “On Anarchy in Music”: “While the inner voice does not revolt, everything is permitted. In all the arts, especially music, any method born from an inner need is correct.”
Hartmann was refering in particular to improvisation: “What the composer wants to express is what the intention is at the time of your intuition.” With this sentence, he could not imagine the doors he was opening. If, at that time, this was understood as an invitation to adapt music writing to spontaneity, perhaps by replacing it with an immediate praxis, it certainly can also be understood in the context of other types of combination of the intuitive with the “composed” and even, why not, in order to compose what was intuited.
In that concept, “Plebiscitu” from Limbo Ensemble, is a work with a hartmannian range. Portuguese multi-instrumentalist Paulo Chagas collected recordings of improvisations by nine musicians from different countries (Australia, United States, Brazil, France, Sweden and Portugal), including Massimo Magee (trumpet), Fernando Simões (trombone, objects), Karl Waugh (violin, electric violin), Quincas Moreira, Travis Johnson (both cello), Thomas Olson, Paulo Duarte (both on guitar) and Bruno Duplant (bass, percussion) to make his own arrangements with different combinations of the participants. This after adding himself on sopranino and bass clarinets, flute, oboe, soprano saxophone, fieldrecordings, electronics and shortwaves…
The working process followed a goal: “To create a collective limbo in which each language is sufficiently ambiguous and at the same time customized to cover diverse moods, but within a certain aesthetic coherence,” to use Chagas’ words.
If there have been similar practices in his country (Nuno Rebelo’s “Azul Esmeralda” and Miguel Feraso Cabral’s “Nevermet Ensemble”), Paulo Chagas went to get their references to one of the previous experiments he shared with Duplant, Phil Hargreaves and others for the yet unpublished album “Branching Voices”.
“The experimental methodology applied pleased me so much that motivated me to create something even more consistent with the jump-cut technique. So I sent invitations to a number of musicians friends asking for their solo improvisations, in order to constitute the raw material of the ‘compositions’ that I wanted to do. Over four months of an exhausting (and sometimes discouraging) work, I realized that I reached the final versions of the eight movements that build this suite of electroacoustic chamber music, which I called ‘Plebiscitu’ - explains the musician.
It’s what we found here, proving once again that “any combination of sounds, any sequence of tonal combinations, is possible” (Hartmann). In this case, the material that has been recorded individually by the various improvisers was ground and mixed in studio with the slower times (deductive) of a laboratory manipulation, resulting in a collective music achieved by virtual means.
Is it also improvised music? Well, yes and no. In fact, it does not matter. There are no limits to creativity: “Everything develops and is subject to certain changes”, as Thomas von Hartmann argued in favor of anarchy in music.
Rui Eduardo Paes
(music critic and essayist)
ND-014- We Like It When You Die: a Tribute to Seth Putnam
Seth Putnam was a man without peer. A ball of hateful and sardonic energy that left no stone unturned when it came to offending, questioning, and satirizing. From the noise and grindcore of his main band Anal Cunt to experiments in sludge, doom, black metal, folk, and more, Seth made every genre his own playground of debauchery.
In June of 2011, Seth passed away from a heart attack. This is a tribute to him, a man that made nothing but enemies, but managed to be one of the most singular, creative, and important voices to ever come from the metal underground. There will never be another.
ND-014- We Like It When You Die: a Tribute to Seth Putnam
1. Cooter Punch - I Don’t Regret Shit
2. The Beardog - Kill Women
3. Rectal Twat - Beating the Shit Out of Old Ladies
4. Fuck the Facts - Don’t Call Japanese Hardcore Japcore
5. Inverted Crossvortex - Return of the Necrowizard
6. Universal Exports - Some Old Songs
7. Aaron Burr - You’re Gay
8. NRIII - The Pain of the Yeti As He Stares Into the Cold Brown Eye of the Mighty Necrowizard
9. Skrukketroll - Nocturnal Cauldrons Aflame Amidst the Northern Hellwitch’s Perpetual Blasphemy
10. Electric Teeth - I’m Not That Kind of Boy
11. Travis Johnson - In My Heart There’s a Star Named After You
12. Myocardial Faggot - Untitled
13. Rectal Twat - I Never Knew the Meaning of Disgust Until You Spread Your Fucking Legs and I Saw That Sinkhole You Call a Cunt
14. King Rape - I’m Attracted to Homophobes
15. Tenderloin Hooker Needles - I Made a Bracelet to Raise Seth Putnam Awareness and Now I’m Gay
16. LORD MEATPIE - Technology Is Gay
17. Universal Exports - The Ten EP Bonus Track
18. The Beardog - You Look Adopted
19. Fatal Position - Untitled AxCx Song
20. Skrukketroll - You Were Too Ugly to Rape So I Just Beat the Shit Out of You
21. Aarronn Burrr - Untitled Song from 7”
22. The Beardog - Thinking of an Offensive Song Title Is More Difficult Than Writing This Song Which Was As Easy As a Backstreet Abortion
23. Rectal Twat - 57 Tracks
24. The Beardog - Pissing On Homeless People Is Really Good Fun; Especially If They Are Giving Birth to a Retard
Download: http://www.mediafire.com/?lozm3bome66dc94
For More Information About the Bands:Tenderloin Hooker Needles - http://thookerneedles.wordpress.com
Travis Johnson - http://www.ilsemusic.info/
Electric Teeth - http://www.facebook.com/#!/pages/Electric-Teeth/136165909763265
LORD MEATPIE - http://www.myspace.com/lordmeatpie
Universal Exports - http://dumping-problem.blogspot.com/
Cooter Punch - www.myspace.com/cooterpunchhxc
www.facebook.com/pages/Cooter-Punch/163270987071850Fetal Injury - http://www.facebook.com/FetalInjury
NRIII - http://www.facebook.com/#!/pages/NRIII/128077417229560
Fuck the Facts - music: http://fuckthefacts.bandcamp.com
merch: http://fuckthefacts.bigcartel.com
facebook: http://www.facebook.com/FuckTheFacts
Artwork by: Kim & Jeremy
Phillip B. Klingler (PBK): “PBK has fashioned a noise-based music that doesn’t rely on power electronics process, but rather, by placing noises themselves into ambient/atmospheric sound environments. His soundworks are composed from turntable manipulation, sampling and analog/digital synthesis. Improvising spontaneously and with little preconception, PBK creates pulsing, echoing, organic soundscapes of unknown sonic origin.”
“I started to experiment with sound around 1986, but before that I was mainly preoccupied with visual arts theories. My interest in “gesture” and “subconscious” correlated to Surrealism(automatism) and Abstract Expressionism(spontaneous expression & improvisation) and I was motivated to apply these thoughts towards sound expression at least partially because of the ability of some sound-types to bypass association and origin. Abstraction was also possibly leading me towards this new solution, the world of noise…”
