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Substrata releases “Ashes and Blues” by The Void of Expansion

The Void of Expansion

Substrata proudly publishes the acclaimed first album: “Ashes and Blues” by the Swedish/Belgian duo The Void of Expansion.

The date of release (worldwide)  is going to be August 13th via our webpage and it’s going to hit some specialized stores – truly compromised with sound –

LISTEN

The Void of Expansion is the duo comprised by the highly skilled free-jazz drummer Tomas Järmyr from Sweden, well know for his notorial presence in avant-garde, new music and modern experimental bands such as ZU, Motorpsycho, Yodok III and Yodok and the Belgian veteran experimentalist and guitarist Dirk Serries (VidnaObmana, Yodok III , Fear Falls Burnin, Kodian Trio)

The combination of this two personalities brings us a perfect mixture of sound and expression.

With an introspective, enigmatic, yet equally feral and untamed sound, the work of The Void of Expansion moves within the limits of genres such as noise-rock, shoegaze, drone, free jazz and modern sound experimentation.

The musical exercise of The Void of Expansion in “Ashes and Blues” is like that of a craftsman working his art in precise detail, while at once creating the impression of free motion through sinuous paths.

Movement gives way to the overflowing energy of free improvisation, in an exercise of concentration and expansion, levels of tension and liberation of energy, breaking through layers of sound, textures of various kinds, amplitudes and unorthodox harmonic, melodic and rhythmic structures and patterns with an almost psychic effectiveness, automatically remitting to a cosmic vastness, desolate places, nocturnal glares and a special ritual aroma.

Originally published on vinyl under the dutch label A New Wave of Jazz Substrata brings a new edition, remastered -specially for CD format- by Dirk Serries at his studio in Belgium.

This new edition includes new artwork, made by the german multimedia artist: Juliane Schütz and abstract photography by the musician and photographer Martina Verhoeven bringing us a new visual experience.

It comes in a beautiful special edition , deluxe digipack which also includes two postcards.

The Void of Expansion - Ashes and Blues digipack open

 

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Lori Goldston (USA)

  • Lori Goldston: Acoustic Cello

Bio:

Classically trained and rigorously de-trained, possessor of a restless, semi-feral spirit, Lori Goldston is a cellist, composer, improvisor, producer, writer, composer and teacher from Seattle. Her voice as a cellist, amplified or acoustic, is full, textured, committed and original. A relentless inquirer, she wanders recklessly across borders that separate genre, discipline, time and geography.

She accomplished in a wide variety of styles, including classical, contemporary experimentation, experimental rock, avant-garde music and free improvisation. she came to prominence as the touring cellist for the grunge band Nirvana from 1993–1994 and appears on their live album MTV Unplugged in New York.
She was a member of Earth, the Black Cat Orchestra, and Spectratone International, and also performs solo.

Current and former collaborators and/or bosses include: Mirah, Jessika Kenney, Ilan Volkov, Eyvind Kang, Stuart Dempster, David Byrne, Terry Riley, Jherek Bischoff, Malcom Goldstein, Matana Roberts, Dana Reason, Lonnie Holley, Cat Power, Ellen Fullman, Mike Gamble, Mik Quantius, Embryo, Secret Chiefs 3, Marisa Anderson, Trey Gunn and Pat Mastelotto, Ô Paon, Tara Jane O’Neil, Natacha Atlas, Broken Water, Ed Pias, Byron Au Young, Christian Rizzo, Threnody Ensemble, Cynthia Hopkins, 33 Fainting Spells, Aidan Baker, Andrea Belfi, Vanessa Renwick, Mark Mitchell and Lynn Shelton among others.

More info:

Releases:

Sound:

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Z’EV live A/V performance @ Festival Aural

Z'EV at Festival Aural

Substrata makes possible the visit of the legendary North American percussionist and sound artist: Z’EV, he is going to perform at Festival Aural on December 16th.
He is going to present an A/V piece, product of his research in topics as: resonance, psychoacoustics, trance, cymatics, synchronicity and frequency.

Active since the decade of 70’s he is one of the artists that gave birth to the industrial music movement in 80’s
The live ritual within the frame of this festival is curated by Elnicho’s Eric Namour and is going to take place at Faro de Aragon
Located in: Av 517 S/N, Gustavo A. Madero, San Juan de Aragón I Sección, 07969 Ciudad de México

You can see the full program of the festival here: www.festivalaural.mx

Z’EV is an American poet,percussionist,and sound artist. After studying various world music traditions at CalArts, he began creating his own percussion sounds out of industrial materials for a variety of record labels. He is regarded as a pioneer of industrial music.

Z’EV was a strong presence in the New York City downtown music scene in the 1980s and 1990s, performing with Elliott Sharp, Glenn Branca, and doing solo performances at The Kitchen, The Knitting Factory, Danceteria, and other venues where experimental music flourished.

In 1983, critic Roy Sablosky wrote: “Z’EV doesn’t just break the rules, he changes them.” Journalist Louis Morra wrote in 1983: “Z’EV is a consummate example of contemporary performance art, as well as modern composition and theater.” and, “Z’EV realizes many of modernist art’s ultimate goals: primitivism, improvisation, multi-media/conjunction of art forms, the artist as direct creator.”

His work with text and sound has been influenced by Kabbalah, as well as African, Afro-Caribbean and Indonesian music and culture. He has studied Ewe music, Balinese gamelan, and Indian tala.

In 1978 he began developing an idiosyncratic performance technique utilizing self-developed instruments formed from industrial materials such as stainless steel, titanium, and PVC plastics. Initially these instruments were assemblages of these materials, used with a movement-based performance style that was a form of marionette, although with the performer visible. He has since come to refer to this performance mode as ‘wild-style’, a term originally related to graffiti. Critic John Buckley described his performances in this era:

The instruments are collections of objects … strung together with ropes and swung at varying speeds and directions to produce a fairly astonishing range of pitches and timbres. And the moves the guy goes through to manipulate these instruments are, for grace and athleticism, strong stuff. Z’EV is also interesting for the close correlation of visual and musical aspects, since the physical vibrations of the objects you see are the same as those picked up by the ears as sound. Also, since the rhythms of the work are dictated by the performer’s every and any movement, an inevitable integrity unifies the act.

 

 

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MoE Tour and Gig in Mexico City

The Norwegian iconoclast avant-garde noise rockers: MoE visited Mexico for the third time.
Also the band recorded songs for an upcoming album at Testa Estudio based in León Guanajuato.
With financing and management by Conrad Sound, Music Norway, Arts Council Norway, Amat Escalante, Universidad de Guanajuato, Museo de la Ciudad de Querétaro, Festival Aural, El nicho and Substrata.

The complete schedule was

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Waves of Redemption a benefit project for the victims of 7S,19S and 23S

Waves of Redemption Cover

We’ve released the compilation “[Waves of Redemption] Contemporary sounds in solidarity with Mexico” on November 2th with the aim for helping in reconstruction labours in indigenous communities that was affected by the Earthquakes with epicentres in Chiapas (September 7th), Puebla (September 19th) and Oaxaca (September 23rd)
Waves of Redemption is an international compilation with artists working into the contemporary music, alt-classical, experimental music and sound art fields.

The people can look more deeply to this project at: https://substrata.mx/waves-of-redemption

The artists where invited to donate one unpublished track or to record something new.
The artists that donated tracks (for the digital edition) are: Angélica Castelló, Carl Michael Von Hausswolff, Rogelio Sosa, Z’EV, Francisco López, Joachim Montessuis, Carmina Escobar, Richard Skelton, Dirk Serries, Kristoffer Lo, Mario Díaz de León, Lori Goldston among many more.

This project was presented at SOMA México.

The main goal of this compilation is to aim for funds for reconstruction labours by the Mexican NGO: Cooperación Comunitaria.
As a permanent project we are going to present live performances, talkings and non-traditional projects with the aim of raising funds for a physical edition that is going to include texts by renowned mexican researchers and artists, also the revenues of this album is going to be directed to reconstruction labours in Oaxaca.

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Entrevista con Voicehandler

Voicehandler son un dúo electroacústico de improvisación proveniente de Oakland (California), conformado por la artista vocal/sonora: Danishta Rivero Castro y el baterista: Jacob Felix Heule.
El dúo trabaja en la intersección de dos de los instrumentos más somáticos y primitivos: la voz y la percusión, yuxtapuestos, y a la vez en contraste con instrumentos electrónicos, así como instrumentos hechos a la medida.
Voicehandler utiliza como fuente de creación el entorno físico y social, por lo que cada concierto es único y se adapta a cada lugar para experimentar distintas sensaciones. Una parte importante detrás del concepto del dúo es la transformación de formas de canto con relación a temas mitológicos y literarios, enfatizando en el drama de la condición humana.

Substrata.-  ¿Para ti cuál lazo entre la literatura y la mitología con la experimentación sonora?

Danishta Rivero.- Creo que gran parte de la expresión artística del ser humano (para no generalizar) es la manifestación de la siguiente declaración: existimos… y de estas ideas, imágenes, indagaciones, etc., se teje la narrativa de nuestra existencia.
Pero no es solo el contenido sino también la forma la que comunica, o mejor dicho, que puede conectar con algo que es incomunicable verbalmente, pero que forma parte de esa narrativa o visión que nos sitúa en/desde el universo hasta el cuerpo que tenemos/somos.
Entonces creo que la improvisación libre y la experimentación con medios electrónicos, en cierta forma son un aspecto o manifestación de la misma narrativa.

Substrata.- ¿Cómo decides fusionar la voz con electrónicos? ¿alguna referencia estilística, ideológica o estética?
Danishta Rivero.- Los instrumentos electrónicos me han permitido encarnar una voz más amplia, que existe en diferentes espacios sonoros. Yo me puedo mover en estos espacios y puedo jugar con ellos e indagarlos de una manera que representa quien soy culturalmente, un producto de la hibridización, alguien quien existe en varias fronteras culturales.

Substrata.-  How do you conceive the drumset as a resonant space?
Jacob Felix Heule.- A resonant body amplifies and thickens the tone of a vibrating object in contact with it. A drum set is a system of resonant bodies — drums of various sizes as well as cymbals. I use these resonators in interaction with each other to amplify small sounds and gestures, and to play with the nuances of sound and coloration. Kyrre Laastad once described to me using the parts of his drum set as “aux sends” for processing various sounds, and that metaphor has stuck with me as a good way to think about it. I have spent a lot of time with a very minimal single-drum instrumentation, working to squeeze the deepest range of sounds from a simple set-up. Recently I’ve been working more with a traditional drum set to give myself easier access to a simultaneous multiplicity of sounds, as well as to incorporate more of the drum set tradition into my playing. But attention to sound and manipulation of timbre remain at the heart of my playing.
Substrata.- how do you think the relationship between the drums and voice?
Jacob Felix Heule.- Percussion and the voice are primitive, embodied, physical instruments. They are present in the natural world in the calls of animals, and plants or objects striking or rubbing against each other. This is in contrast to electronics, which have little to do with nature, and are the most disembodied instrument. But Danishta uses both voice and electronics in Voicehandler, and to me it feels just as natural to play with either one.

Escucha Voicehandler aquí:
http://www.heule.us/voicehandler/

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The Void of Expansion Live @ dunk!festival

The Void of Expansion;  experimental music duo of the legendary Belgian guitarist Dirk Serries (Vidna Obmana, Fear Falls Burning, Yodok III) and the highly talented Swedish drummer Tomas Järmyr (Zu, Motorpsycho, Yodok III, Doffs Poi, Barchan) is going to gather again to perform on Saturday May 27th on Dunk! Festival, to be celebrated in Belgium.

The duo is going to perform along with several acts such as Swans, Earth, Aidan Baker, among others.

The Void of Expansion explores, from a free Jazz methodology of improvisation without boundaries, the sonorities of drone, shoegaze, ambient, post rock and noise with a minimalistic approach.
The name of the band is an abstract idea about the principle of emanation, this is an anthropological concept found in ancient cultures, eastern and western philosophies and in some contemporary art practices.

Image result for the void of expansion

One day before this concert, the band is going to enter to Sunny Side Inc Studio for a new The Void of Expansion record.
This album is going to be published by Substrata. and distributed worldwide.

You can buy the tickets at the Official Dunk!Festival Webpage

This 2017 edition of this festival is going to take place on:
Jeugdheem De Populier
Address: Letterkouter 8 (GPS: Kouterken, 9620 Zottegem)
9620 Zottegem (Velzeke-Ruddershove)
Belgium

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Interior III – Resonancias aurales de la necro-cultura

“Los rastros de esta cirugía «demiúrgica>> persisten durante largo tiempo –en formas humanas vivas,  es cierto, pero cuya integridad física ha cedido Iugar a piezas, fragmentos, pliegues (…) Su función consiste en mantener a Ia vista de Ia víctima y de Ia gente de su alrededor el mórbido espectáculo que ha tenido Iugar.”
– Achille Mbembe, Necropolítica.

¿Qué sonido puede ser lo suficientemente significativo y poderoso para (re) abrir la grieta a las sensaciones inmersivas de la angustia y el terror ?
Después de imaginarlo, cabe hacerse la siguientes preguntas:
¿Hasta qué punto los esperpentos sónicos de la cultura de la violencia en México se han hecho un espacio en la memoria?, ¿No nuestra existencia es, en parte, un vestigio vivo de la cultura del terror y la muerte a través de los siglos?
México, espacio de sincretismos, transita por la era del capitalismo gore, bajo los métodos sistemáticos del necropoder: los últimos rostros del post colonialismo en el suelo de una sociedad desigual y desde el inicio de su historia: corrupta.
México transita por el espectáculo del cadáver vacío y del suplicio del cuerpo doliente en la economía de la muerte, y en la memoria aural encontramos los vestigios de la macabra obra en la que el principal antagonista es el sujeto endriago, analogía de la teórica Sayak Valencia para el “achichintle”, el centinela, el multi-homi-feminicida.

En estos mundos de la muerte el objetivo del castigo de los necropoderes es el hueso, el interior; Las consecuencias del sonido (experimentado a ciegas) son en el espacio nervioso, a su vez, es el mismo interior demiúrgico que persigue el endriago.

La acción de privar al escucha del sentido de la vista, en las piezas electroacústicas de la serie Interior del compositor y artista sonoro mexicano Rogelio Sosa, tiene la intención de provocar una intensificación de la experiencia psicoacústica y enfatizar en las connotaciones sociales del sonido.
Para la pieza Interior III, Rogelio Sosa utilizó diversas grabaciones de contextos de violencia en México y creó una composición electroacústica dentro de la metodología de la música concreta, con una distribución del espacio acústico a 4 canales divididos en 16 bocinas + una bocina móvil
A los asistentes se les pidió que se colocaran una bolsa de tela negra en la cabeza privandoles del sentido de la vista.
La bolsa negra: el signo del cadáver anónimo en el anti-ritual de la ejecución y signo del cuerpo desechable.

El recorrido sonoro de Interior III mantuvo la intención de generar una experiencia claustrofóbica tratando de inducir a estados psíquicos de paranoia.
Con una estructura narrativa  los escuchas se vieron sitiados en un espacio interior vulnerado por las amplitudes, texturas y por los signos sonoros que travezaban el primer ubral timpánico.

Alfredo Gallardo: Co-poductor, Curador.

_____________________________________________________________
Elenco:

Rogelio Sosa – compositor

Lillian Müller – Endriago x
Alma Delia Mendez – Endriago x
Daniela Pinilla – Endriago x
Miguel Ángel Dávalos – Endriago x
Paulina Granados – Endriago x
_____________________________________________________________

Productor: Alfredo Gallardo Avila
Documentación: Mara Arteaga
Ficha Técnica: Andrés Oriard
Diseño de Bolsas: Patricia Gómez Martínez
Producción: Rodrigo Casas
Sede: Espacio X, Centro Cultural de España en México
Fecha 18/03/2017

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Sustain (01)

First edition of our a-temporal contemporary experimental music cycle to be celebrated continously within the frames of México City (Or anywhere else)

March 17th
Carmina Escobar – Caja Negra (Introspección 0)
Phill Niblock – Trabajando (Una and Dos)/Sur (Una and Dos)
Flyer:
Sustain Carmina escobar


March 18th

Rogelio Sosa – Interior III
An electroacoustic, acousmatic multichannel experience.
Flyer:
Sustain Rogelio Sosa

March 19
“Foghorn”: a doccumentary about Kristoffer Lo’s The Black Meat by André Løyning.
Flyer:
Sustain André Loyning

Special Thanks to: Phill Niblock, Kristoffer Lo, Tito Rivas, Paola Ascencio, Javier Lara, Rodrigo Casas, Patricia Gomez Martinez, Sharon García, Lillian Müller, Alma Delia Mendez , Daniela Pinilla, Paulina Granados, Miguel Ángel Dávalos, Mara Arteaga, Rogelio Sosa, Andrés Oriard, Humberto Zamorate, Discos Mono, André Løyning.