Rally! es la consecuencia adrenalínica de recorrer el DF montados en taxis de dudosa fiabilidad, de quedarse atascado en el Eje Central mientras a tu alrededor vendedores te asaltan con extraños artículos a la venta, martillos, plátanos, snacks y bebidas, en ese orden. Rally! es un viaje, agarrado al asiento de un Volksvagen Escarabajo, mientras el taxista fuerza la caja de cambios maltrecha que asoma por debajo de la tapicería, seis días de viaje por el DF, seis días de descubrimiento y sorpresa, de cúmulo, de saturación, de recuerdo, de horror vacui de altavoces y micrófonos, son seis días en la ciudad electroacústica.
Javier Piñango y Edu Comelles viajaron a México DF para participar en el Festival de Experimentación Sonora Radar / UNAM, dirigido por José Wolffer. Durante 6 días recorrieron la ciudad capturando sonido en varias derivas sonoras, que una vez mezcladas y editadas fueron sometidas a un diálogo acústico con un sintetizador Korg MS-20.
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“BullDozer” can be understood as a clash (without bulletproof vest) between unprocessed field recordings and an analogue synthesiser... Still this is not an accurate interpretation, too easy, BullDozer aims to go further. This sonically violent clash between those far apart elements is a conscious and deliberated sabotage, knowing the outcome an its very consequences: somewhere between filthiness, dirt, corruption, rustiness, gasoline and bleach ... and mainly noise, saturation and excessiveness.
This is an attitude contained underneath the “Heavy Metal Field Recordings” tag, plane and simple. BullDozer is a field recordings album, a Heavy Metal album without electric guitars, its an outcasted electronics album, its made for thugs and pimps conceptually and aesthetically. This album is like Charles Bronson gun way down the throat of that thing called “experimental sound”, its a provocation, an outburst, a walk down the sound alley; BullDozer clearly is a microphone and a synthesiser leering hard a Marshall Amplifier, a drunken pub chat about genres, styles, that ends badly, pure heresy, and proud of being.
This is mainly the A and B of BullDozer. In the meantime, seven pieces of raw sound that can only be preceded by a statement of intent such as “Mundo Lemmy” a full scale homage to the man. In fact, Lemmy is all over the place. Afterwards there is time for a carwash, chainsaws, non subterranean subways, F1 cars beating the road of a corrupted and decadent region, a washing machine out of it, and finally, the mexican orgy, a full scale pagan bacchanalia at Zócalo Square devoted to consumption and heavy drums.
Producing, recording, mixing BullDozer is hell on earth, a sound nightmare, a sicken endeavour that can easily infect you. Blood on the ears of all the hard listening, adjusting and maladjusting, all down to a purpose, to serve an agenda, a howl of bad attitude and rage perpetrated by the two guilty men: Piñango and Comelles.
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“BullDozer” can be understood as a clash (without bulletproof vest) between unprocessed field recordings and an analogue synthesiser... Still this is not an accurate interpretation, too easy, BullDozer aims to go further. This sonically violent clash between those far apart elements is a conscious and deliberated sabotage, knowing the outcome an its very consequences: somewhere between filthiness, dirt, corruption, rustiness, gasoline and bleach ... and mainly noise, saturation and excessiveness.
This is an attitude contained underneath the “Heavy Metal Field Recordings” tag, plane and simple. BullDozer is a field recordings album, a Heavy Metal album without electric guitars, its an outcasted electronics album, its made for thugs and pimps conceptually and aesthetically. This album is like Charles Bronson gun way down the throat of that thing called “experimental sound”, its a provocation, an outburst, a walk down the sound alley; BullDozer clearly is a microphone and a synthesiser leering hard a Marshall Amplifier, a drunken pub chat about genres, styles, that ends badly, pure heresy, and proud of being.
This is mainly the A and B of BullDozer. In the meantime, seven pieces of raw sound that can only be preceded by a statement of intent such as “Mundo Lemmy” a full scale homage to the man. In fact, Lemmy is all over the place. Afterwards there is time for a carwash, chainsaws, non subterranean subways, F1 cars beating the road of a corrupted and decadent region, a washing machine out of it, and finally, the mexican orgy, a full scale pagan bacchanalia at Zócalo Square devoted to consumption and heavy drums.
Producing, recording, mixing BullDozer is hell on earth, a sound nightmare, a sicken endeavour that can easily infect you. Blood on the ears of all the hard listening, adjusting and maladjusting, all down to a purpose, to serve an agenda, a howl of bad attitude and rage perpetrated by the two guilty men: Piñango and Comelles.
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Media:
Full Show at Plutón.cc with Avelino Saavedra (Valencia, 2016).
Full Show at Plutón.cc with Avelino Saavedra (Valencia, 2016).
Full Show at Moroder Club (Madrid, 2014).
Live at Espacio Cruce, Madrid, 2013.
