CHOPPO

In the heart of the Wirikuta desert, in Real de Catorce, lies a sacred land where ancestral magic and mystery intertwine. This vast landscape, located in central Mexico, is home to the mythical Peyote plant, a living being that blooms with a unique and mystical beauty. By consuming it, those seeking spiritual connection and inner clarity are transported to dimensions of color, sound and deep meaning. The Peyote flower, rare and sacred, becomes the portal to visions that defy ordinary perception and resonate with the very essence of life and the cosmos. In this desert, the rhythm of nature and the heartbeat of the universe merge, creating an eternal symphony that beats to the beat of ancestral wisdom.

Chormatic Flower 01

Drumcode Live this week is Amelie Lens live from Complex, Maastricht. Expect to hear tracks from Amelie Lens, Ramiro Lopez and 200 And One.

1. Amelie Lens & Farrago - Purge - ARTS
2. Unknown Artist - Untitled
3. Linus Quick - Weeping Birds - Eclipse Recordings
4. Amelie Lens - Drift - Second State 
5. Niereich - Drehmoment (Ricardo Garduno Remix) - Amazone Records
6. Frazier - Element Selection - Elementra Records
7. Ramiro Lopez - September - Drumcode
8. Setaoc Mass - Structured Deceit - SK_eleven
9. Amelie Lens - Contradiction - Second State
10. 2000 And One - Get Down (Len Faki Hardspace Tool) - Figure
11. Amelie Lens - In Silence - Drumcode
12. Marco Bailey - Icefyre - Materia
13. Johannes Heil - Exile 008_03 - Exile
14. Dast - Raid Zone - Off recordings
15. Slam - Vapour - Soma
16. Parallx - Lost in Time - ARTS

DCR355 - Drumcode Radio Live - Amelie Lens live from Complex, Maastricht

Amelie Lens @ Awakenings Festival 2017 (24-06-2017)

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Amelie Lens @ Awakenings Festival 2017 (24-06-2017)

SHIFTING MIRRORS (ESPEJOS MUTANTES, ESPELHOS MUTANTES)
For alto sax and electronics
Shifting Mirrors (2016) is a multi-track electronic piece using exclusively fragments of sampled saxophone sounds, which were worked out with various digital techniques. The composition was realized in CCMAS-Morelia Studios, Mexico, thanks to a residence program supported by Ibermúsicas Foundation.
There is not a conventional score here, but a digital audio file containing 32 channels showing separate waveforms. This document was realized directly with a sound edition application. In the case of a version with a live saxophone, this digital document serves as a guide for the instrumentalist, who must follow it strictly and adapt his intervention to the composed sound structures.
The reason behind this unusual procedure is to develop a musical situation where the work becomes a possible example of a “participative performance”, according to the expression of the interpreter to whom the mixed piece is dedicated, saxophonist Pedro Bittencourt.

The title of the piece comes from the idea that sustains it: the electronic part was made exclusively from saxophone sounds (in general very short), constituting a mirror network that reflects and answers in time and space. This network is structured in a way that rhythmic and space relationships won’t be heard as a mechanism of delay, but as a “prismatic” elaboration, carefully composed. The instrumentalist must go inside this composed network and follow its development. One of the required actions, throughout the assimilation phase of the piece, consists in listening to the separate 32 channels, to be aware of sounds involved, and choose the ones he wishes to reproduce as a “mirror”. The electronic part, determined in detail, can enrich itself with shifting mirrors from the live part.
Each sound file inscribed in the digital support has a name, sometimes indicating the instrumental cause: the playing modes on the saxophone (i.g.: coppio di lingua, coppio di lingua quasi slap, fluted, harmonics, multiphonics, etc.), at other times indicating more complex sounds being part of the composition (these files constituting more radical transformations of the instrumental sound realized with digital techniques as granulation, convolution, phase-vocoding).
Indications of how to play a given object having a clear instrumental causality are considered as priorities for the instrumentalist. The indications that doest not have clear instrumental causality are optional – they can however be parts of the instrumentalist’s reading trajectory, who can “jump” from one line to another (this being one of the “degrees of freedom” which he can use, but always respecting the metric and sonic features inscribed in the digital support.
New specific trajectories can be signalized (notated) by the instrumentalist, adding new signs (lines, arrows, words) to the support, and eventually indications of pitch; duration and dynamics; these additions can act as memory cues. However, the parameters must always to refer closely to the sound of the electronic part. The pitches, for example, have always to be tuned with the ones that are already fixed in the digital support, and in no case different ones can be added (because there is an explicit harmonic plan stated in the piece). The same occurs with durations, metrics and intensities: the interpreter must follow without exceptions what is sounding in the digital support – the interpretation must be precise in all these aspects.

Shifting Mirrors (2016) for alto sax and electronic sounds - exerpt (3 first minutes)

Erika Vega, Four darks in red (2018) for trombone, percussion and contrabass
Commissioned by Festival Vértice UNAM
Premiered by ELISION ensemble 

Live recording, Festival Vértice, 27 October 2018, Mexico City.

Four Darks In Red (2018) for trombone, percussion and contrabass

Camilla Townsend, historiadora estadounidense, es la autora del libro Malintzin, una mujer indígena en la Conquista de México. Un cúmulo de antecedentes históricos nahuas nos acercan a una época y a una mujer empeñada en sobrevivir en las condiciones más adversas. Regalada a los conquistadores, esclava, concubina, traductora y consejera de Cortés.

Malintzin, la traductora de la Conquista en busca de su dignidad

Composer Mexico/Austria visit: www.arturofuentes.com

Chormatic Flower 01

Arturo Fuentes

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