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Leo Alves Vieira & Pangea Post-Sleep Paths |
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Tuning Leaves Atmossoa Sleep depravation Noiselips and Becoming Sleep Curve Ritual
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Reedición en soporte físico de la primera colaboración entre el músico brasileño Leo Alves Vieira (clarinete, flauta, guitarra acústica, electroacústica) y el proyecto de música vanguardista español Pangea (aka Juan Antonio Nieto), este último encargado de tratamientos sonoros, mezclas y producción; un disco que salió publicado en formato mp3 para libre descarga en 2007 en el netlabel sueco Tlhotra, y ahora vuelve al candelero remasterizado por el propio Pangea. Su constante poesía sonora, elaborada con instrumentos musicales y exploraciones electroacústicas de variada índole, conducida por tonalidades que nunca llegan a desparramar agresividad pero sí disconformidad, "habla" con dialéctica y sigue, como un clásico, de actualidad. Trazos inquietos y amables recorren caminos llenos de fluidez. Cuentan con la participación musical del Quarteto de Cordas da Grota, de Olavo Vianna y de Júlia Mendes Selles, y de los recitados de Paulo Autran, del poema "Autospicografía" de Pessoa (en "Atmossoa"), y de Jaime Gil de Biedma, de su propia poesía "Contra Jaime Gil de Biedma" (en "Sleep Curve Ritual"). Esta obra es una alianza entre la avanzadilla musical y la dulzura armónica, entre la vigilia y el sueño, original y con gran personalidad. Encuentran la paz, la transparencia y la naturalidad que les procuran energía, elegancia y encanto, en un marco exploratorio abierto e integrador. |
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Mezclas y producción de Pangea Diseño de Pedro Pagnuzzi Noviembre de 2011
7 €
Podcasts
entrevista a Juan Antonio Nieto "Tuning Leaves" "Sleep depravation" "Sleep Curve Ritual"
"Noiselips and Becoming"
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Críticas |
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"[...] a collaboration between Leo Alves Vieira and Pangea. The first is from Brazil and plays clarinet, flute, acoustic guitar and electroacoustic. Pangea is Juan Antonio Nieto from Madrid and he plays 'sounds, treatments'. Improvised music, but it makes also use of a pre-recorded string quartet by Vieira in 'Sleep Deprivation', ultimately taking over the piece. The music has more of this pre-recorded classical music, which, at least or so I think, is being transformed by Pangea. Over these textures, Vieira plays his instruments and does that in a way that its not plink-plonk like, but actually fills in when and where needed. It delivers some interesting tense pieces of music, which is sort of half way through improvisation, modern classical music and cinema like pieces. Very nice and with some thirty-five minutes the right length to leave the listener curious for me." (Frans de Waard, Vital Weekly # 818, 7/2/2012) -- "Vierea on Bb Clarinet, flute, acoustic guitar and electro-acoustics, Pangea (Juan Antonio Nieto) on sound treatments, with additional string work. The five pieces take existing sound, often music (is that Don Cherry on track 3?) or spoken word, and alter them in a manner reminiscent of concrete and tape assemblage work from the 60s, albeit with a greater amount of ancillary sound and a subtler approach. There is indeed a sense of dream-logic in play, a misty surreality about the music. This is most finely wrought on the aforementioned third track where that sped-up trumpet flits in and out of guitar chords, masses of static and dynamic displacement; a dizzying and very enjoyable journey. I found the dis as a whole a bit inconsistent but when it gels, things are quite fascinating. Worth checking out." (Brian Olewnick, Just Outside, 26/12/2011) -- "This is an unusual album. It doesn’t fit into any of the emerging forms and idioms that seem to be establishing themselves across various labels and interest groups. You’ll find some fine simple string quartet writing and playing, plenty free improvisation, some synthesiser with various effects as in film sound design, indeterminate hiss, buzz and crackle, and various recitations of poems and texts.
The overall impression is one of increasing formlessness, which is what you might expect from the free improvisation, though the strings and recitations seem to pull the music towards more formalised structures. That tension is what makes the album unusual.
Brazilian Leo Alves Vieira and Spanish based Pangea are obviously accomplished musicians. We can see and hear this both from their respective biographies as artists and from the range of instruments and musical skills on offer. The clarinet and guitar passages are full of interest, only occasionally falling into those ‘what do we do next’ moments. After a few listens I began to pick up on hints of interplay between the instruments. After a few more listens the chaotic formlessness established itself just enough to be convincing as a musical statement, never an easy thing to do.
I’d say that the strength of the album, outside of some excellent playing, lies in the way that the artists have brought together a bundle of disparate, seemingly unrelated resources and have then effectively imposed their collective musical authority on the materials." (James Wyness, Fouter & Swick, 23/12/2011)
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