microphones in the trees: jorge castro / carlos giffoni

Saturday, June 03, 2006

jorge castro / carlos giffoni

el trabajo de Castro y Giffoni es espectacular, sobre todo a partir del minuto quince de un único tema que dura un poquito más de media hora. se pueden rastrear influencias como los primeros discos de Sonic Youth, Flying Saucer Attack, The Dead C o el minimalismo de conservatorio menos sofocante de Glenn Branca. guitarras del olvido que respiran, que arrastran los sentidos con la implacable parsimonia de Rameses III, que se acaban justo cuando empiezas a disfrutar del suavísimo latido de sus cuerdas... como un oasis en medio del ciberespacio, ideal como preludio al sueño más profundo. cálido y vibrante.

"Lovely, crapped-out electronic noises that come and go in waves. Drones are looped and flanged and soaked in reverb, then layered and staggered, until the whole mess sound like a nest of electronic cicadas hopping about in an orgone accumulator. Beautiful, haunting sounds drift into the ether as mechanical cyclotron noises form the bedrock that keeps it all anchored (more or less) to the ground. The textures vary wildly and the entire disc (one long piece) tends to creep through various stages or movements of sound, where they'll stumble onto something interesting and hang with it for a while, processing and mutating it until it either turns into something else completely or they exhaust its possibilities and move onto something else. This is less "music" than it is the ambient sound of power plants, automated assembly lines, and drone factories. A kinder and gentler (sort of) variation on what Throbbing Gristle imagined when they coined the term "industrial music," perhaps. If Eno had been sitting in the office of an electromagnetic batch processing facility rather than an airport when he came up with the concept of ambient music, the results might have been something of this nature. The ambient nature of this disc is in the fact that it could be turned down and played as background sound without too much problem, but at the same time it offers much for closer listening. There are some beautiful and unearthly sounds buried in the drones and mechanical loops here. Another exotic offering from Public Eyesore."

"..the piece then slowly evolves and develops through a variety of flavours–wind and guitar with theremin-y sci fi sounds; looped strumming with building woobles and echoed percussion; pulsing and swirling sounds; plucking; complex layers of sound over the surface–sci fi, machines; strumming guitar and descending tones and into a slightly wild and woolly conclusion."


Ruido Horrible said...


¡¡¡¡no vuelvo a comprar una revista de música!!!!


P.D. Estamos en contaco

Anonymous said...

Tienes más razón que un santo. Y aunque me precie de conocer al hada madrina que nos hechiza con sus sortilegios, soy absolutamente objetivo. ¡Anímense los discrepantes!, de haberlos.

ana said...

tómate. de verdad pingoíno, no pareces de esta época...de hecho no pareces de este mundo.