Malcolm Pardon and Peder Mannerfelt leave the stage as the take at the beginning of its activity. While some electronic debit columns borbulhares, both dressed in dark, take to the mouth of nanoseconds to a scene, as if a small military obligation fulfilled, then continue. It is a theatrical detail, which some saw as dramaturgical excess, but it helps to dig a distinct place for Roll the Dice among participants of the fourth edition of Semibreve festival in Braga.
Instead of the usual scenario of laptop perched on a guesthouse black tablecloth on a table, in which the musician on stage is almost as static as the spectator in the audience, the Roll the Dice there is a little more than cursors in or handled screen buttons. The music is also less abstract than that which we have heard much of the luminaries of experimental electronic passing by Braga, seeking an order which often seems only to hear randomness.
When Mark Fell for example, presents the exciting spectacle Multistability , in the last minute replacement of diseased Karen Gwyer, what we are witnessing is a song for more analytical than emotional appreciation. For 35 or 40 minutes, Fell puts into practice an astonishing rhythmic deconstruction, kind of pescadinha tail in the mouth in the ass insists on escaping to be snapped up in a slightly different cycle again. Ie, there is a dance of rhythmic patterns, pushing yourself, stealing role, constantly changing the perception of what we hear and showing at last the pace as unstable matter. This almost scientific side of the sound, also explored by Dutch Thomas Ankersmit, the latter seems to amount to a continuous action of sabotage of a beep, a repeated placement of stones on electronic gear, performance more impenetrable it all gravitate around an idea destabilization. It is a game of manipulation uncovered.
Therefore, in a context of high experimentation and proposals whose musical enjoyment requires a well-lined stomach, concerts headliners Roll the Dice (Friday) Demdike and Snare (Saturday) sound, suddenly, the balm of order and structure. Intelligently, the public Semibreve submits the most difficult experiences in the early evening, reserving the final performances on stage at the Circus Theater for proposals where there are fewer barriers to entry. Roll the Dice in the web of tension will be composing slowly, always on the way to a final vortex. With electronic layers crossed by the minimal melodic piano or strands which stick to the rhythm melodies, the musical construction of the duo will thicken and always pulling new layers to gasp for breath, until it becomes almost unbearable such a dense occupation of space. The exquisite sound offered by the room would help a performance that ended with the public against the wall, the pre-recorded to give the final touch in a chilling tension and the boundary ropes.
With excellent Demdike Stare (Sean Canty and Miles Whittaker), the intensity would be smaller. Behind the two, permanence, images that reinforced the anxiety and the eerie aura of music, with glimpses of bare to refer not so much to desire as exposed to too fragile bodies. No wonder that the duo confess initially adopted the motto to be doing a soundtrack for a nonexistent horror movie. The sounds are crossed by two dark tremendous density, with an underground gravity, refusing to offer any revelation. The spaces, the mechanical motion, the infernal murmurs and pulsars heartbeat pull wires desperate voices. All processed, is a guide to anxiety and startle avenging without any slowdown of the hypnotic tone.
No certainties
A pair of concerts in the two rooms of the Theatro Circo, the Semibreve also invites immersion in installations that explore the connection between sound, image, space, robotics, etc., in the corridors and the Circus Theater but also in building GNRation (former barracks National Guard Hall, reconverted in creative hub by the European Youth Capital). Mark Fell and Anna Zaradny, both in the main program of the festival, also present in this area. But, outside of the rooms, the best intervention would come from Pierce Warnecke, an intersection of video and sound presented in the bookstore 100th page. Starting with a quote from Jorge Luis Borges – “the reality is accurate, the memory is not” – uses these words as an excuse for a series of narrative fragments, looks on erosion and rock textures, a beautiful filmic object the sound contributes to this same record esgravatação and search for incomplete reconstructions and transformed by time.
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