Now the future is here

Still de la película Die Frau nach der man sich sehnt (1929) de Kurt Bernhardt.

Human Machine

Nicht Raum, nicht Zeit, nur Nacht und Nacht
Nur Nacht, von Nacht noch überdacht
(Gerrit Engelke, 1921)

La noche y la nada

Human beings are involved in the replication of machines not because they lack a reproductive system: human beings form part of such a system.

Grabado en :MWM: Estudio. México, D.F. III.15.
Natwow - Bass Guitar.

Inorgánico [Ft. Natwow]

Máquina deseante de su destrucción
Ritmo desconcertante en oscilación

Grabado en :MWM:
Marzo 2015

Máquina-Guerra

«Isn’t it strange the way the wind makes inanimate objects move? Doesn’t it look odd when things which just lie there lifeless suddenly start fluttering. Don’t you agree?

I remember once looking out onto an empty square, watching huge scraps of paper whirling angrily round and round, chasing one another as if each had sworn to kill the others. As I watched I was filled with an ominous foreboding. What if, after all, we living beings were nothing more than such scraps of paper? Could there not be a similar unseeable, unfathomable ‹wind› blowing us from place to place and determining our actions, whilst we, in our simplicity, believe we are driven by our own free will?

What if the life within us were nothing other than some mysterious whirlwind?»

Sample + Citation: Gustav Meyrink, Der Golem, 1914.
Image: Stelarc, Exoskeleton, 1998.
Recorded at :MWM: recording studio, Mexico City, 2015.
Composed by Mayumi Kyu and Jorge Cardiel.
Produced by Jorge Cardiel.
Special thanks to Scarlet.

Extracorporal

Ruinas para una Era Futura is a darkwave project located in Mexico City. Members Mayumi Kyu (Vocals, Live Drums, Noises) and Jorge Cardiel (Drum Machine, Sequencer, Synthesizer) decided to collaborate in a new project together, after being in contact through soundcloud and meeting in the Death in June concert on May 16, 2014. This resulted in a first session that lasted twelve hours of intense musical communication, in which they wrote their first three songs.

Discussing the song Die Befindlichkeit des Landes from Einstürzende Neubauten, they came across the paradoxical idea of a futurism based, not on the exaltation of modernity, but on the consciousness of the inevitable decay of human civilization, which encompasses bodies, architecture, landscapes, technological devices and machines, psychic, social and nervous systems. In order to present this nihilistic futurism, their sound comprises analogical oscillations, reverberated voices and screams, distorted beats, filtered samples and self-generated noises.

Their first song entitled "Human Machine" deals with this catastrophic conception of the future as seen from the present moment and it's inspired on the 20th century's first film scenes which focus on machines as a non-human protagonist. Machinery is a metaphor for civilization's development, working its way through history and, although it reaches high levels of complexity and organization, doomed to collapse. The future of the "Human Machine" is an agglomeration of ruins.

Ruinas's second song, "La noche y la nada" (Night and Nothingness) inspired by the poem "Schöpfung" (Creation) by the German expressionist Gerrit Engelke and wrote also at the beginning of the 20th century, focuses on the moment after the "Human Machine" breaks down, bringing a return to the original indeterminate state before creation.

Ruinas parauna Era Futura

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