Ivy Walker - Ivy Walker

1.Down Dog 02:24
2.Água 04:53
3.Love Never Felt So Good 04:30
4.Fripperama 06:05
5.Temor & Tremor 03:32
6.Condensar 01:08
7.Liturgia 04:06
8.Si Te Quiero 03:35
9.Sunflower 02:19
10.Planetista 03:56
11.Takayama Ukon 06:05
12.Anúncio 00:18


Mario Cascardo: vocals, keyboards, acoustic guitar, computers.
Lucas Stamford: electric guitar, computers.
Rômulo Moraes: computers, MPD.

All songs by Ivy Walker, except “Love Never Felt So Good” by Michael Jackson.

Cover art by andsor.

@ Cloud Chapel Recs

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Luz Fermenta / Hileia

1.Pt. 1 15:11
2.Pt. 2 18:55

"In 'Luz Fermenta / Hileia', the idea was to borrow from a specific list of references in Brazilian erudite music. I decided to use as main sampling material three symphonies from the Brazilian canonical constellation, one representing each significant period of its history: for the romantic period, Carlos Gomes’ 'O Guarani', an opera that tried to glorify the indigenous people as a sort of prime Brazilian archetype to be followed; for the modernist period, Heitor Villa-Lobos’s 'Bachianas Brasileiras', a landmark waltz that incorporated elements of Brazilian folk and concrete music to the influences of Bach and Rachmaninov; and for the contemporary period, Hans-Joachim Koellreutter’s 'Três Peças Para Piano', a serialist work from a musician who is now known mostly as an avant-garde theorist and teacher. The only rule I imposed myself was that these three pieces needed to be in use as source material throughout the whole work; although I could cut and modify them however I liked, or even insert sounds from other sources, like free recordings and synthesizers, these base-samples needed to be 'playing' at all times. This way, I’d not only use them but would be pushed to hear them over and over again in the process of creating, so as the sounds themselves would suggest different uses through their repetition.

The goal I had in mind was to, through editing, twisting, fusing and contracting these already established works as described, find other aspects of the aesthetic forms they entail and that are hidden within them – to 'extract' new meanings and symbols from them forcefully. This was backed up by a belief that the work of art is equivalent to a 'world', and creation of art, equivalent to a cosmogony. By applying a radical phenomenology, it becomes plausible to imagine that there is an intensive space within the work of art, a space that we imagine through the relations it traces with fictional elements we perceive in them (shapes, densities, movements, proportions, memories, colors, tastes, etc), and that an artist creates multiple aesthetic worlds which are unique – and which art critics try to pin down – through a vision and its realization. In this sense, with 'Luz Fermenta / Hileia', I'm trying to rework these pieces as an exploration of the aesthetic worlds they hold within them, but that are currently unclear, like hidden faunas and ambiences, to try to find out more about the Brazilian ethos while also building a new world, a pop world, from them.

When I started 'Luz Fermenta / Hileia', I thought that this deconstruction of symphonies would probably lead me to express a feeling of forest and of Unknownableness that could be associated with the agenda of early Brazilian romanticism, the driving energy of Tropicália or with indigenous mythologies. What I found out while making the collage though, was much less optimistic and much more macabre. The songs held phantasmagoric sceneries, voices from a haunted past, filled with resentment, non-addressed historical trauma and death. 'Luz Fermenta / Hileia' as a title became, then, even more fit, because while 'luz fermenta' means 'fermenting light', which is what seems to be happening materially in this track, 'Hileia' is an alternative name to the Amazon jungle given to it by Alexander von Humboldt and derived from 'hyle', the Greek word for formless substance or matter; so it is both a failed name for the forest, a decadent name, and a mystical name. Or, as writer Euclides da Cunha would put, it is an eerie name: the name of a lost promise."

Self-released.

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Argonauta - Reagan

1.esmalte 01:05
2.urca 01:04
3.ode à linda odete lara 01:03
4.papel gelatina 03:45
5.park filadélfia 00:36
6.baratas & outros vestígios extradimensionais 00:40
7.casa do mario 00:24

“Pieces of lost objects, re-soundtracking affects and imaginary landscapes.”

Self-released.

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Other sounds:

"Uruguai", Ivy Walker, 2017
"Nancy's Astrology Diaries", Reagan, 2016
"Blue Velvet", Palinopsias, 2015
"Tallin's Danse Macabre", Babality, 2014
"Salinity", Palinopsias, 2013