Some improvisations seem less about dialogue – listening, responding, listening – and better resemble an agreement to let loose at a set time. Abailable starts with the sound of two musicians dragging crates of jumbled sound to the edge of a hillside: old Casio keyboards, toy synthesisers, MIDI trigger pads, spaghettis of patching cable and jack lead. 3, 2, 1, go. They spill them out. Drum machines clatter and bounce. Synthesisers grunt as they slam against jutting rocks on the way down. It’s a reckless cascade of pattering and tumbling, interjected by sudden bursts of gushing wound, riding the downward slope all the way to the bottom (wherever that may be). Everything fast becomes caked in the fuzz of bad wiring. Some of the sockets and cabling take an irreparable beating on the way down.
cecilia lópez is a composer, musician and instrument builder from buenos aires, argentina. her work explores the boundaries between composition and improvisation, as well as the resonance properties of diverse materials through the creation of non-conventional sound devices.
wenchi lazo is an improviser from argentina who uses a guitar and electronics.
the two musicians met over the course of 2015 and 2016 to document a series of electronic improvisations. they used synthesizers, drum machines and processors. the sound is: resonance feedback. pummel. wooze bend. castles in space. clocks ticking from station to station.
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