New Video: Ales fosques (I&II) (Excerpts) by Zero de Conducta from Garcilaso session 15-7-2017

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Montserrat Marfany, percussions, glockenspiel Jordi offscope Buscà, Martin acoustic guitar, VoxLabEchoes & loops Sir Pere Canals Miró, Roland synthesizer Jaume Martín, xilophone & harmonica Dr Antoni Robert, Fender Squire synthesized guitar, Roland GR-55 Captain Enric Solà, percussions Excerpts from the 19′ track to be released soon. Images from: Flying Dove Flock by mrtimtangblog White bird flapping on black background shooting with high speed camera phantom flex, by dizi sever White dove by vliegvogels

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Pierre Huyghe’s After ALife Ahead (2017) at Skulptur Projekte Münster: augmented reality

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This is for shure the most impressive work of Skulptur Projekte Münster 2017, and the most expensive one, and it’ll be destroyed after Octobert the 1st. A work including cancer cells, snails, algae, concrete, bees, mud, software and many other elements. While touring possible locations for his contribution to the 2017 Skuptur Projekte in Münster, Germany, late last year, the 54-year-old French artist found one such site, a sprawling, old ice-skating rink, no longer in use, tucked behind a Burger King on the edge of town. “This place will be destroyed, so I could actually act on it as I wanted,” he said, recalling what attracted him to the space in a Skype call from Brooklyn last week. Huyghe has transformed that abandoned rink into one of the most formidable and mysterious artworks that I have ever seen, an alien environment that seems secretly to teem with life and that

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New CD available: AMORGOS SOUNDSCAPE by Nikos Theologitis / Stamatis Theologitis / Giannis Theologitis / Antoni Robert

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A new and exciting project! 1. Katapola 01:05 2. Panorama 1 10:12 3. Wind On Water 01:52 4. Nikos 01:05 5. Water On Wind 03:36 6. Nikos 2 01:28 7. Panorama 2 19:01 8. The Cave Children 00:48 9. Nikos 3 01:54 10. Panorama 3 21:23 11. Farewell 02:12 about The notion of folk culture has definitely been transformed through the course of the centuries. More particularly, tradition and its authenticity and spontaneity in the context of orality seem somehow to have been mutilated and reconstructed, as soon as globalization and multiculturalism became one of the dominant discourses during the 21st century. Folk songs haven’t been an exclusion in this particular case, as revivalism and folklorism have emerged as a devastating force in the production of folk music. In “Amorgos Soundscape” by Antoni Robert, a paradox occurs: One could say that these folk songs are seen through the eyes of a foreign visitor and the recording could be seen as

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PHICUS: Ferran Fages, Àlex Reviriego, Vasco Trilla, March, 13th, 2017

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Ferran Fages – electric guitar Àlex Reviriego – bass Vasco Trilla – drums, percussion Robadors 23, Barcelona Why “Phicus”? What is a phicus? A fancy spelling of the plant? Or is the explanation more elaborate? I suppose I’ll have to ask… but in a post-truth society, it’s more fun to guess or fabulate… #phikenews? Well, whatever it means, what it is… is a new trio in Barcelona, comprising three beyond-busy stalwarts of the free improvisation scene. I was already tempted to check them out but when they described themselves as a “Keiji Haino meets AMM” kind of thing, that clinched it. So is it a good description? With a samurai unhesitancy, they plunge directly in – clang, rumble, and clatter – with plenty of power, an absence of fear, and manage to avoid both cliché and repetition. So far, so good. Fages utilises a nice big open, distorted tone, plenty of hollow twang beneath

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PHICUS+1: Ferran Fages – Àlex Reviriego –Vasco Trilla + Joachim Badenhorst. 13-7-2017

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PHICUS+1 Ferran Fages – electric guitar Àlex Reviriego – doublebass Vasco Trilla – drums, percussion + Joachim Badenhorst – saxophone Robadors 23, Barcelona july, 13th, 2017 Phicus return to Robadors 23, this time accompanied by Joachim Badenhorst on reeds. Last time, I burbled on about “matching and contrasting tones and textures… layered and discarded in an unstoppable kineticism,” and yes, I’ll stand by those words. Phicus are carving out their own intense brand of precision disorder. Passages of glorious frenzy alternate with more meditative minimalism, and throughout there’s a constant energy, a seething potential being tapped and channelled. With the variety of extended techniques on display from all four musicians, it’s difficult sometimes to identify which alien sound is produced by whom but to give a flavour… Read the complete review at the author’s blog. Text by Dave Foxall, from his blog: http://ajazznoise.com/phicus1-13th-ju…

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New youtube chanel: DELICATESSEN

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This is a chanel where I will share music related works that have had a strong influence on me , and so I consider them as “delicatessen”. I will not include the most obvious and commercial ones. No Beatles videos for instance, but less obvious stuff. I hope some of you will discover unexpected gems here. I hope you enjoy it. https://www.youtube.com/channel/UCnDsrOofWYYpgVzsTDfEwYQ/videos Last one included: the poet of Cape Town.

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Tomorrow Never Knows by Zero de Conducta, 2017

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Warming up at the beginning of the session shattering a great tune, with the greatest respect. A divertimento with improvised words by Sir Pere Canals Miró. Not all of us were aware that the recorder was on! Zero de Conducta Montserrat Marfany, percussions Jordi offscope Buscà, Martin acoustic guitar Sir Pere Canals Miró, voice and improvised words Jaume Martín, percussions Dr Antoni Robert, electric guitar Captain Enric Solà, bass & percussions (not at the same time!) from La Joncosa Piscodèlic Session 3-6-2017 Original song by Lennon & McCartney Images from: Kinetic Circles, videomapping (Pour l’amour de l’art), Modelo: Saray Diaz 60’s Garage, Surf, Freakbeat & Psychedelic Music – Vol. 4 & 22, (GrimlyFormingPW) Seventh Sense (Excerpt) / 第七感官 (五分鐘版) (Anarchy Dance Theatre)

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FREENETICS #37 with Tura Gómez Coll. 9-7-2017

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Last session of the season, and a special one. I went with some expectations. Freenètics are well known with their well balanced powers. The raw rumble of Ferràn giant saxophone, counterposed with the delicate vibrations of Juan Antoni cello and the versatile drumming of Pep always deliver powerful and subtile performances. Add to that a passionate and athletic dancer and you have all the necessary ingredients for a great session. But reality overcame expectations. Tura’s movements were magically paced with the evolving sound of the trio, as if they had been rehersing for years. And the music was demanding; and the scenario was demanding; in such a short distance every detail is magnified. No escape. And Tura filled the space with her brave mood and her flexible and trained athlete body and her precise and quick movements. Amazing. And the musicians were all the time following her movements and closing

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Exposició: Els barris de barraques de Montjuïc, Sants i Les Corts

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Del 20 d’abril al 23 de juny, l’Arxiu Municipal de Districte ens convida a gaudir de l’exposició: Els barris de barraques de Montjuïc, Sants i Les Corts. Del 20 d’abril al 8 de setembre, l’Arxiu Municipal de Districte ens convida a gaudir de l’exposició: Els barris de barraques de Montjuïc, Sants i Les Corts. La mostra, permet al visitant conèixer aquestes construccions informals agrupades que es van constituir en autèntics barris. Aquest és un projecte que compte amb la col·laboració Comissió ciutadana per la recuperació de la memòria dels barris de barraques de Barcelona, el Centre d’Estudis de Montjuïc, el Grup de treball de memòria històrica del Districte de Sants-Montjuïc i el Districte de Sants-Montjuïc. Al llarg de tot el segle XX, moltes famílies provinents de zones més desfavorides de la península van arribar a Barcelona a la recerca de treball i un millor futur. La impossibilitat de trobar un

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BRIAN ENO: New Space Music & 77 Million Paintings at Arts Santa Mònica Barcelona 2017

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Capturing the ambient. First in the New Space Music hall, only sound, and then in the 77 Million Paintings hall, just observing and listening to the generative sounds and images. You will never ever see the featured images or listen to the recorded sounds on live, because this is generative art, and so always changing and never repetitive.

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Sweaty Bouganvillea by Zero de Conducta (2016)

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from the cd IMPROVISATION EMSEMBLAE from La Joncosa session, 6-8-2016 Montserrat Marfany, vocals & percussion Jaume Martin, guitar Dr Antoni Robert, synthesised guitar offscope Jordi Buscà, guitar & vocals Sir Pere Canals, guitar Enric Solà, drums & bouganvilleas The CD is available trough our web page. Limited to 100 numbered copies. Ask for details. Images from Cannabic Grower, Netz Tube, UndergroundBotanix

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Embryo with Walid Mahmoud Mountassir, Magia Roja, 25-2-2016

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Amb relació amb el meu precedent post. Embryo amb Walid, en la que és la avant penúltima actuació de Embryo amb Christian Burchard, el fundador. Pocs dies després un problema seriós de salud va afectar Chistian, de manera que és molt improbable que pugui tornar a tocar. Embryo continua ara sota la guia de Marja Burchard, la seva filla, i multiinstrumentista. També vol ser aquest post un homenatge a Magia Roja, local que acaba de tancar de manera indefinida fins que es puguin fer obres de insonorització. Hi ha un verkami obert a propósit, al que us encoratjo a col.laborar.

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Gnawind, tradicion y fusión.

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La música gnawa sigue siendo una gran desconocida en nuestro entorno, pese a haber seducido a músicos tan importantes como Jimmy Hendrix, Carlos Santana, Randy Weston, Embryo, Pharao Sanders y Peter Brötzmann, por citar solamente algunos nombres sobradamente conocidos en distintos ámbitos. Por lo tanto es una buena noticia que en Barcelona haya grupos que la practiquen, haciendo así posible que entremos en contacto con ella. Sin ser muy riguroso y para que el lector lo visualice cómodamente, podríamos decir que la música gnawa tiene un origen con ciertos paralelismos con respecto al origen de la música de los espirituales negros. Por desgracia en muchas épocas de la historia ha sido común el tráfico de esclavos, y una de sus fuentes principales han sido los paises del África negra occidental, sobretodo Senegal, Sudan y Mali. Así como los esclavos de estos lugares que fueron llevados a America llevaron consigo su

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FAME CHIMICA a Espai 120, L’Hospitalet de Llobregat, 20-5-2017

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FAME CHIMICA està format per Paloma Sánchez Castaño, Sheila Moreno Espelt, Antonio Clavijo Victori i Jennifer Moreno Espelt. Un grup d’art contemporani composat per artistes visuals i sonors, comissaris artístics i dissenyadors gràfics. Fame Chimica gira alrededor de la performance, la instalación y el ruido, probando en su girar diferentes formas contemporáneas de entender la realidad.

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“Sediment” de Lali Barrière y Ferran Fages, Crater Lab,, 5-5-2017

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Foreword: Interferences that travel from down to top were not visible at the show, and are due to interference with the recording machine. So what you see in the video is not exactly what was seen at the show. I decided to publish the video anyway, because artist speaks about vertical and horizontal lines, and those unexpected patterns are horizontal, ans so do not contradict the artist aim. And furthermore hazard has a role in life, and in this case it left its fingerprint. Sediment es una serie de narraciones abstractas que combinan, con una aproximación claramente minimalista, los visuales generativos de Lali Barrière con la música estática de Ferran Fages. Los visuales hacen servir un único elemento gráfico, la línea, horizontal o vertical. El cambio de color de las líneas, muchas veces enmascarado por su lentitud, se percibe como movimiento y genera un paisaje en transformación continua. El material

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ÚRSULA SAN CRISTÓBAL, The Room, Centre Cívic Guinardó, 28-4-2017

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Performance de Úrsula San Cristóbal CASTELLANO ¿La libertad del cuerpo femenino solo puede estar asociada a la desnudez? ¿Cómo construimos la imagen pública de nuestros cuerpos? ¿Es solo fruto de la aceptación pasiva de las imposiciones sociales o es producto de las reflexiones personales? ¿Quién tiene el derecho a decidir sobre la visibilidad pública del cuerpo femenino? El proyecto “La habitación” intenta abordar estas preguntas en una acción donde el cuerpo femenino es problematizado y representado a través del sonido, la voz y la escritura. La performance se elabora a partir de los testimonios de mujeres de distintas partes de Europa y Latinoamérica que han accedido a responder las preguntas arriba mencionadas. Sus voces están presentes en forma de caligrafías y de collages audiovisuales, acompañados de improvisaciones musicales y acciones físicas. Estas últimas intentan reflejar la opresión y la liberación del cuerpo femenino, mostrando que las normas sociales que han

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AVELINO SAAVEDRA at Màgia Roja, 21-4-2017

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AVELINO SAAVEDRA http://avelinosaavedra.blogspot.com.es/ https://avelinosaavedra.bandcamp.com/ Avelino Saavedra, artista plàstic, músic i performer, compagina la pintura i l’art d’acció amb diversos projectes musicals, en els quals fa referències a múltiples llenguatges, com el de la música concreta, la improvisació lliure, el free jazz, el noise, etc … En els seus projectes musicals treballa amb els sons produïts per objectes, joguines electròniques manipulats i instruments de percussió. En el directe empra processadors d’efectes i, samplejant en temps real els sons que van sorgint en copejar, fregar, esquinçar i bufar a objectes com ara papers, metalls, teteres, tubs de plàstic i gongs, crea timbres, textures, intervals de so -silenci i dinàmiques, que troben el seu contrapunt en altres situacions o passatges més melòdics, evocadors i suggestius. Avelino Saavedra, plastic artist, musician and performer, he combines painting and performance art with diverse musical projects where he makes references to multiple languages like the concrete musique,

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