to forcefully recontextualize experimental and contemporary music // to negate the sonic description of innovation created by global north in the 21st century // to negate the fictional history of development in experimental music // to reconsider counterpoint as a colonial fragment // to reconsider tonal harmony as a colonial fragment // to reconsider the clavichord and baroque music as a colonial fragment // to consider the charango as a virtual extended technique instrument // to rethink the clavichord within a new possiblity for counterpoint // to acknologde the “herofication” of european musical landmarks as a form of ideology // to propose and practice an open multiple form view for new music // to negate a local practice and dialogue as a universal speech // to practice and recenter global south as the matter of the conversation // to ignore their idols // to profit from the gringo’s system // to buy my grandma a house // pela paz do corpo mestiço pardo brasileiro // to ocupy their spaces // pela malandragem // “europe is indefensible” // “demorou, eu quero é mais, eu quero até sua alma” // pelo lixo ocidental // eu nasci pobre mas nao nasci otario // good luck getting me out of your deutsche land

Credits:

Composition: Marcio Zygmunt
Arrangement: Marcio Zygmunt
Performance: Marcio Zygmunt (Electronics, Voice, Guitar, Flute), Ivana Bandalo (Clarinet), Coraima Díaz Torres (Voice)
Engineering: Marcio Zygmunt
Mastering: Marcio Zygmunt
Coverart: Marcio Zygmunt

[jovemdeu$, 2022]

of History Manufacturing §§ Porque Vocês Não Sabem do Lixo Ocidental

MARCIOZ