"Para la composición, Llahuar Leh utiliza una técnica inspirada en el montaje cinematográfico. Hace grabaciones de paisajes de todo el mundo que después decanta, deconstruye e interviene para generar nuevos lugares imaginarios, descolocados de las leyes de la física. No queda nada en la tierra, excepto estos entornos completamente sonoros que se debaten en las tensiones luz-oscuridad, sonido-silencio. Los últimos animales, rocas y plantas no tienen cuerpos, son sólo ruido al que estos beats y estas voces pretenden domesticar. Ecos que rebotan en el interior de una esfera binaural. Un registro no sólo de nuestra decadencia sino de nuestros últimos instantes luminosos. Ciencia ficción sonora, cada uno de estos tracks parece relatar una etapa de nuestra extinción narrando con atmósferas orgánicas, una potente base melódica y ritmos caóticos provenientes tanto del industrial como del techno. Cada uno de los sonidos de Nada En La Tierra, desde los registros naturales hasta el último beat, fueron recolectados por Erick Ruiz Arellano en viajes por Asia y América a lo largo de casi 20 años. Así es cómo la imaginación humana siempre toma componentes de la realidad y los vuelve en su contra." Iván Soto Camba.
___________________________________________________________________

"For the composition, Llahuar Leh uses a technique inspired by film editing. He makes recordings of soundscapes from around the world that later decants, deconstructs and intervenes to generate new imaginary places, out of the laws of physics. There is nothing left in the earth, except for these completely sonic environments that are debated in the tensions of light-darkness, sound-silence. The last animals, rocks and plants have no bodies, they are only noise to which these beats and these voices intend to tame. Echoes that bounce inside a binaural sphere. A record not only of our decline but of our last luminous moments. Sound science fiction, each of these tracks seems to relate a stage of our extinction narrating with organic atmospheres, a powerful melodic base and chaotic rhythms from both industrial and techno. Each of the sounds of Nada En La Tierra, from the natural organic environments until the last beat heard, were collected by Erick Ruiz Arellano on trips through Asia and Latin America for almost 20 years. This is how the human imagination always takes components of reality and turns them against it. " Iván Soto Camba.

Llahuar Leh - Nada En La Tierra

Anoche _Microhm ft. Anafauna

Compilado 003 C

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Syntax Erika - A Garden Of After–Image

Festival Sur Aural 2023 - "Renacer - El loop eterno de la existencia"

Transmisión 00: Programación oficial

@sur.aural te invoca!  Este 21 de junio  a una transmisión especial, para conocer la programación oficial y Ixs seleccionados de la Invocatoria.

En esta 5ta edición, el Festival SurAural 2023 invoca a todas las fuerzas, energías y materias para hacerse tangibles en frecuencias sonoras, capaces de repercutir desde nuestros oídos a nuestra existencia.

Sur Aural es un colectivx sonoro expandido en el territorio boliviano y en el Sur Global que, entre otras actividades, organiza desde 2019 el Festival Sur Aural.

FSA 2023 - Renacer - "El loop eterno de la existencia"

Transmisión 00 - Programación oficial

FSA 2023 - Renacer - Transmisión 00 - Programación Oficial - 21/6/2023

@im-microhm - Desvanecer
Label: Infinite Machine
CAT#: IM108
Format: Digital
Release: January 26th, 2024

One day I dreamt that you were no longer here.

Desvanecer–the latest EP from Mexican artist Leslie García aka Microhm–takes a glimpse into a world of abandoned spaces, hollowed structures; absence. Within the span of seven tracks, the artist explores the limits and crossovers between noise and ambience, utilizing rhythms of the Latin diaspora to conjure an electroacoustic future.

Among these compositions, such as nine-minute long "Nostalgia," Microhm combines colorful airy patches with droning atmospheres, melding the elements through hypnotic percussive rhythms that slowly unfold and retract–sometimes disappearing completely. During the dreamlike sequence of "Nostalgia," movement is constant. Pleasant shimmers suddenly collapse into foreboding rumbles; night terrors. Ephemeral flutters of light tease the listener before becoming overpowered by deep incantations of harrowing emptiness. The fourth track, "Silencio Cómplice" seems to be cut from the same cloth, though perhaps leaning further into despondence. The arrangement begins with hard kicks pulsing in a minimal dancehall rhythm, while a heavy drone emerges steadily. Drums weave in and out, pushing back beneath the subdued dread that builds through the murky atmosphere. "El Despojo" is not far off, where snares march through fields of unsettling ambience and surges of noise.

Yet within this project, Microhm also demonstrates interest in a sound that is more soft-spoken, delicate. "Sueño Premonitorio" could more or less be grasped as a progression of five chords across the span of three and a half minutes. The track's minimal arrangement and organ-tones give way to the sensation of entering a sacred space, the confines of a holy building or enclave. While there is an undoubtable feeling of absence that is manifest within these five sequences–and present throughout the rest of the record–"Sueño" seems to humbly acknowledge and perhaps revel in this emptiness, inviting the listener to take part in the rite.

Through the course of Desvanecer's thirty-four minutes, García does not present us with one complete conclusion or vision, but rather trickles of insight into a preordained future, a world not far from our own. Each track is beautifully mesmerizing and uniquely introspective; a fearless gaze into a space where absence is not devoid of change. Desvanecer is perhaps a ritual bidding of farewell; but equally so, it is the welcoming of a time when there are none of us left.

Mastering by Imaabs
Artwork by Sofía Papadópulos & Leslie García

Desvanecer

Microhm - Nostalgia (IM108)

Pieza sonora colaborativa para las diseñadoras Julia & Renata

La primera lengua

Sacrum

¿hace ruido el árbol que cae cuando no hay nadie para escucharlo?
Exposición potencial debajo de un árbol caído en el Jardín Botánico.

Eva Coronado / Mirna Castro

Áskesis

El silencio es el sonido más oscuro.

Aves y arroyo en ojo de agua.

Tuxpan de Bolaños, Jalisco, México.
05Jul2018 – 08:33
+21.876999, -103.013857

Arroyo ojo de agua / Tuxpan de Bolaños

Electric Grave

Niuki

Ánima Panorámica

Rosa Venus

Hangry

Spiderdust

Festival Sur Aural 2020
// Transmisión 25 // REVUELTA SOCIAL //
Nuestra lucha no se olvida

Comprender no es igual a excusar.
Aclarar no es igual a justificar.
Cuarentena no es igual a descanso y olvido.
  
 Tracklist:
// No nos olvidamos - Erick Ruiz Arellano - (MEX) 
// BA-LI-BO - Elisabetta Senesi - (ITA)

Para más información de las obras ingresa a​:
 ​www.suraural.org​/transmisiones

 #SurAural​ ​#SiLoEscuchoMeAcuerdo​ ​#MemoriasIdentidad​ ​#EscuchaActiva

Electric Grave

erick ruiz arellano

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