It’s nothing new, and the past won’t let us lie, but it’s still kind of evident that in recent years we’ve been experiencing in western parts a kind of exponential awakening to the possibilities of percussion – be it acoustic or processed, beat or texture. , anything goes – in a solitary register, where voice and function assume themselves as self-sufficient and not laconic, evoking realities beyond Moby Dick’s solo show off – silencing High Fidelity aficionados. Multicultural heritages that do not belong to us but respectfully intermeddle – we hope – in the matter of artists of vision and bravery. Here very close and only in recent times have we had outstanding works by drummers such as João Pais Filipe, Gustavo Costa or Gabriel Ferrandini who took this instrument as a fundamental means for explorations of sensorial and physical elevation. They are an example of a small but already diverse part of a cosmos where Will Guthrie gravitates.
Sir, with a long history behind him, with records on such illustrious publishers as eMego – DEP Peter Rehberg -, Black Truffle, Ipecac or Clean Feed and collaborations with people like Oren Ambarchi, Jean-Luc Guionnet, Mark Fell or David Maranha. Something that in itself reveals a very wide range of action, capable of embracing with rigor and spirit different languages that hover over the abyss at the end of rock, liberating jazz, electro-acoustics and transitory spaces. An Australian living in Nantes, Guthrie is as tireless as he is meticulous in a plural language that uses drums, all the percussion families, amplification and electronic processing and applies them on several fronts: polyrhythm, extensive techniques, drone, sampling, fiery improvisation, martial beats. Always with vitality and ingenuity, without superfluous plots or brute force conceptualizations. Continuing with an obsession focused on the metal percussion of albums such as Sacreé Obsession, Nist Nah released in 2020, part of a fascination and in loco study around the Indonesian gamelan in various cartographies, to arrive at the hypnosis music that amasss all these past experiences in elevation pieces with rhythmic pulse, timbral totality and lyricism. Last year, the second part of People Pleaser continues to operate in a field of lively composition, in short themes where sampling, field recordings and (of course) the beats owe as much to J Dilla or Madlib as to the hallucinatory collages of People. Like Us or Thomas Rechion. In between, collaborative albums with Jean-Luc Guionnet and James Rushford, and everything making sense in the midst of this whirlwind of activity countercurrent to these days. Supreme percussion. BS
Teresa Castro (PT) and Emil Saiz (ES) started collaborating in 2019, in Madrid, during the ZDB residency in Matadero. Initially, they produce and record existing songs that, over time and from a new and mutual vision, are alchemically transformed, giving rise to new songs. They are amplified melodies found in the shapeless currents of the sea. Harmonic and immersive notes that establish a conversation between the past and the future in the moving singularity of the now, giving rise to a meaningful experience of full-body self-discovery.
Teresa is a composer, multi-instrumentalist and student of Multimedia Art from Lisbon. With her solo project, Calcutta, she has collaborated with several artists such as Helena Espval, The Legendary Tigerman or Filipe Sambado.
Emil Saiz is a composer, multi-instrumentalist and sound producer from Madrid. He is the founder of Nothing Places and regularly collaborates with various artists such as Mucho, Zahara or Christina Rosenvinge.