Ivy Barkakati és músic i DJ, nascuda a Washington DC, la qual interactúa amb els cercles de música experimental a la ciutat de Baltimore, coneguda per col.lectius i espais com Tarantula Hill (Nautical Almanac, Heresee) entre molts d’altres, però alhora amb la cultura de la música electrònica i de ball.

Centre Cívic Parc-Sandaru. Buenaventura Muñoz, 21. Barcelona. Metro Arc de Triomf.
7€

+info (cat/es/eng):http://lullcec.org/2011/concerts/sergio-luque-ruben-patino-oscar-martin/

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19.12.2011, 18:00h

CONFERÈNCIA: XENAKIS I LA SÍNTESI ESTOCÀSTICA
(a càrrec de Sergio Luque)

Aula 349. ESMUC. Barcelona
Entrada gratuïta

+info (cat/es/eng): http://lullcec.org/2011/conferencies/xenakis-i-la-sintesi-estocastica/

Flyer: Lucía C. Pino

“It’s hard to think of many artists that have made radical Marxist concerns and over-arching concepts seem even vaguely interesting in a rock-as-rock context, there’s uh…. well, there’s Mattin. Billy Bao were, for a while, the most amazing marriage of sociopathic rage and sociopathtic theory, perfectly marrying Mattin’s love for Lou with his love for Looting. And now comes this, a new solo album where he is joined by the always-amazing Margarida Garcia on electric double bass, Kevin Failure of Pink Reason on electric guitar and piano and Loy Fankbonner on drums, while he steps in on vocals and lyrics. Inspired by the Surrealist concept of The Exquisite Corpse, drawings or words written on folded paper where you must add the next contribution without any knowledge of what the other person has put down, Mattin handed out a set of lyrics and asked each player to lay down their part without any other guidance or any other instruments to play to. Each part was then mixed in as-is with Mattin’s vocals over the top. No two musicians were allowed in the studio at the same time, everything was one take and no playbacks were allowed. The results are jaw-dropping. The staggered rhythms and sudden speed-ups and stops/starts give the music an unpredictable/feral energy with Failure’s guitar sounding like something out of the first couple of Crass albums while Fankbonner moves from scattershot punctuation to sudden last-minute accelerations accompanied by Garcia’s cranking bass. Mattin’s vocals are amazing, possessed of the kind of hectoring/hysterical energy of The Afflicted Man or even Lydon circa Metal Box while the music feels like a spiritual cousin of the whole Oi/d-beat/post-punk UK aggro scene, albeit re-thunk by Japanese gods of thunder Kousokuya and with Tori Kudo on the mix. At other points, when the piano comes in, it could almost be Yoko Ono’s Flyonly here peace gets no chances, beds are on fire and the time is right for fighting in the street. The absolute success of Mattin’s gamble only goes to underline how important chance, freedom and aleatoric strategies are to keeping rock music alive as any kind of expressive cultural force, something that has been internalised and re-stated again and again throughout its’ history, whether through punk’s deliberate refusal of ‘technique’, psychedelia’s inheritance of free improvisation as the keys to the kingdom or noise’s refusal of dialogue altogether. Left to chance, beyond any notions of exchange, beyond organisation, beyond entertainment or simple ‘communication’, beyond bullshit notions of ‘creating a space where dialogue can take place’ (perhaps the most tiresome apologia of contemporary art praxis) the best rock exists in a zone that’s unanswerable to technique, unassailable and incapable of assimilation and this new project from Mattin, well, it’s just like alla the best rock/roll, impossible to reproduce, offensive to any fixed artistic sensibility and drawing power by insisting on excess. Totally fantastic and highly recommended!”

Volcanic Tongue (by David Keenan, Glasgow October 2011)

Price: 14.00€

Carn de porc is Olivier di Placido (electric guitar) and Rubén Patiño (Super Collider).
This tape is a selection of different recorded sessions in Berlin during summer 2009.Olivier Di Placido is a self-taught musician who performs on electric guitar. His approach is mainly focused on the manipulation and the sonic possibilities of each elements of the guitar as a sound source (Unscrewed neck, unfixed pickup, broken strings or not, electricity and short circuit, frets, whammy bar…). He’s ausculting and trashing them all by moving the pickup around the instrument.
He develops a world of tension and rupture with an interest for non narrative structure and spontaneous form.

Rubén Patiño aka Pato works in the field of Computer Music
His work is a blend of hyper energetic algorithmic composition and decorative visualization.

Limited to 60 copies
Price: 5.00€

Coàgul (clot) is the aural platform that Marc O’Callaghan uses in order to “accumulate” (coagulate) certain energies in the particular spatial point in which this project manifests itself.
This is carried out through an overload of synthetic, distorted sounds, which form a mass of repetitive sonic hypnotism. Through singing, shouting, or industrial flourishes that hint at subtle harmonies implicit in the noise itself.
This tape contains 15 minutes – two clots, one on each side. It was recorded on April 22, 2010 in the neighborhood of Coll in Barcelona, in the author’s maternal nest.

One side contains “La Mort És Dolça” (Death is sweet). This clot is like the insides of a large temple packed with cyclopean columns, where strange rituals are practiced. The deliberate synthetic beats embody the columns, the silences are the dark space in between, and the timid metallic whispers that emerge suggest ornate decorations made of precious gems or extradimensional unknown beings that materialize as these whispers gain power.
Throughout the monotonous journey through this mysterious sonic space, a Faustian increasingly desperate voice repeats the song title as an anti-mantra. It is an evidence that everyone knows deep inside, but that often hurts to be aware of. The more intense is the pleasure, more out of ourselves we are, the closer to death. It encourages us to recreate viciously in this painful certainty as sending it in the shape of a coded message to the unconscious, “La Mort és Dolça” is a tool to disable this psychic equation that nature imposes upon us. And so, somehow, to make us less human and closer to the divine status.

The other side contains “L’Ascensor Genital” (the Genital Elevator). This clot is a morass of distortion with a cheerful rhythm but dark and haunting atmosphere. Throughout the delirious ride through the foams of these timeless waves, a rueful voice recites some tragic chants of a tone, insistently repeating the directive: “sense parar – fins arribar / sense parar – fins despertar” (non stop- until the arrival / non stop – until the awakening). The states in which ordinary consciousness remains in the background, and the mind expands beyond its own prison are the ideal to overcome the human condition and unite with the divine whole. The climax of intercourse is one of those states, and this song is specially designed to promote this religious application of orgasm, to “take heaven by assault.”

In summary, the two clots of this film are magickal dehumanizing tools, one in the direction of pain and the other in the direction of pleasure. They function as opposite but complementary ways, and this is reflected in the ambivalent nature in the mechanism that a cassette tape imposes: when we reach the far end of the pain and we flip to the other side, we automatically find ourselves at the leading edge of pleasure and when we reached the far end of pleasure, we are automatically placed at the leading edge of pain.
The illustrations that accompany the release are mechanical revelations, executed by the trembling hand of the author, that put the listener in the context of the psychoactive Faustian imagery of this work.

-Marc O’Callaghan, Barcelona 2011

Limited to 50 copies
Price: 5.00€

As some of you already know, Ozonokids was meant to stop its production during this year 2011. To those who don’t know and before i explain the reasons, i need to talk about where it all came from:
Ozonokids was started by myself as a small distro during year 1998 / 1999. Two very close friends joined almost immediately, Dalmau Boada and Siria Gomez. It finally turned “officially” into a record label during year 2000, after teaming up with Jose L. Dominguez (aka Italiano) who was running half of the punk label DIY Product at the time. Later that year Marc Molina also joined the team and we were five people on and off for a few years. From then onto year 2003 everybody slowly dropped off the project for diferent reasons. Since then it has been just myself taking care of it all. The way things have worked since that moment have mutated considerably but mainly it has been one of a very compulsive and disorganised nature, which in a lot of ways has become the main spirit of the label. Now, the main reason why i am quiting, the problem i’ve had to deal with is that the project itself has consumed more time, effort and money than i’ve had during all these years. So that, due to the nature of the project since its beggining made me decide to quit. It was a couple years ago that i decided that it needed a deadline. So i chose year 2011 as the awaited end.

The Future:

After this last two batches of releases, including the Mattin LP, Carn de Porc, Coàgul, Terminal Babilonia cassettes and the Ozonokids Magazine #2 nothing else will ever be released on the label. I decided to cancel the release of the Weyes Bluhd CDR because i can’t manufacture the release the way i intended to do it originally, and, considering it was a reissue, i thought it wouldn’t really make a big difference.
The official website will stop working as a catalog eventually, and all the Ozonokids releases will be found in some distributors and stores. I will keep posting a list of all of them. All available releases and the distributed material on the catalog will still be found on my discogs store catalog, but it will be disabled during January, February and March of 2012.

Some people have insisted i should not quit and i really appreciate your concern and support but i believe that you will also appreciate the changes when they come. I am already working on a new project, where part of the work will be producing sonic archives amongst other productions. I will also post information about that real soon. I am also working on a retrospective of Ozonokids with a publisher from Barcelona, in the form of a book that will be produced during 2012 and hopefully will see the light during the same year.
This is a very important step in my life as much as it has been being part of this project for so long. I never guessed it would make it this far.
I am very grateful to all of you, the artists for being always so patient and understanding, our friends, the “costumers” who also had lots of patience in this big chaos that Ozonokids has sometimes been since the beggining, involving long ass delays, chaotic trades and whatnot. To all the friends and people who have helped and been psyched, showed their support, attended shows, listened to the records, distributed them, played them in their radio shows, …
Thanks.

Arnau Sala – Ozonokids, December 2011
http://www.ozonokids.com

* top photo by Adrià Cañameras, 2008

Amb un enfocament orientat envers la composició algorísmica i la síntesi estocàstica, aquest seminari explorarà les funcionalitats que ofereix SuperCollider
per seqüenciar i controlar processos sonors en el temps. Estudiarem les principals
classes implicades (Event, Stream, Pattern) i desenvoluparem un vocabulari de
patrons per desprès crear estructures sonores i musicals mitjançant la combinació de passejades i distribucions aleatòries, màscares de tendència i cadenes de Markov.

Sergio Luque és un compositor de música clàssica i electroacústica. Actualment està
finalitzant un doctorat en composició amb Jonty Harrison i Scott Wilson a la
Universitat de Birmingham. La seva principal línia de recerca és l’estudi i
desenvolupament de les tècniques de síntesi estocàstica concebudes per Iannis
Xenakis. El 2004, va rebre una Mestratge en Composició al Conservatori de Rotterdam, on va estudiar amb Klaas de Vries i René Uijlenhoet i, el 2006, un mestratge amb distinció en Sonologia al Conservatori Reial de La Haia, on va estudiar amb Paul Berg i Kees Tazelaar. La seva música ha estat interpretada a Europa, Amèrica i Austràlia. És membre actiu del Birmingham ElectroAcoustic Sound Theatre (BEAST).

http://sergioluque.com

Divendres 16.12.2011, 18.00-22.00h.
Dissabte 17.12.2011, 11:00–14:00h, 16:00-19:00h
Diumenge 18.12.2011, 11:00–14:00h, 16:00-19:00h

Lloc: Hangar. Passatge del Marquès de Santa Isabel, 40. Barcelona. Metro Poble Nou.

+info: http://lullcec.org/ca/2011/tallers/composicio-i-sintesi-estocastiques/

Aquesta activitat ha estat organitzada per l’ull cec amb la col·laboració del
Consell Nacional de la Cultura i les Arts, Institut de Cultura de Barcelona i
Hangar.

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