Lost Tribe Sound
This album needs much more attention than it is getting! Somewhere in the realm of the mechanical, yet strangely organic rhythms of Pierre Bastien or Giuseppe Lelasi, while taking on a bit of Italian flair, reminiscent of Gavouna (one of my long time favs). Very refreshing to hear a label like Unknown Tone start casually pulling music like this from their back pocket. Love it!
Favorite track: pró.digo.
Buen Aurelio Malazar (BAM) was born in San Sebastián, Spain 1971. BAM grew up with the radical politics of his parents who were associated with the Basque separatist group ETA. In 1987, both his parents died during the Hipercor bombing in Barcelona. An orphan at nine, he began traveling with his Italian uncle, who was a foley artist. As his assistant, Buen Aurelio was exposed to and inspired by 50’s and 60’s slapstick comedy, spaghetti westerns, giallo, and sci-fi films. During the ’90s, Buen Aurelio relocated all over Spain working in radio stations as an occasional DJ. While living in Barcelona, he met the influential Victor Nubla who introduced him to Anton Ignorant and other members of the Bel Canto Orchestra. For a few years, BAM composed electroacoustic music for theatre and dance. Also active in visual and spatial arts, he produced videos and installations. In 2010, he relocated to La Palma, the most north-westerly island of the Canary Islands, where his uncle owned a house. For a decade, Buen Aurelio avoided traveling abroad and composing. Instead, he built a studio and perambulated the volcanic ocean island, his new home. Malazar maintained correspondence with some of his friends and former collaborators. As a result, he began working on “pre pro post” earlier this year. This first studio release is based on his epistolary exchanges and his early memories of life in mainland Spain.
All tracks written, performed, and produced by Buen Aurelio Malazar.
Buen Aurelio Malazar: Computer, servo-motors, accordion, harmonium, harmonica, tuba, violin, prepared piano, drums, wood, and metal percussion.
Mastering by Mark Kuykendall at Unknown Tone Records
Artwork by ItsGenetics
Special Gratitude to Domenico Evangelisti, Gruppo di Improvvisazione Nuova Consonanza, Luigi Nono, Jacques Tati, Dario Argento, Mario Baba, Associazione Rumorista, Andrei Tarkovsky, Sergei Parajanov, Victor Nubla, Antoni Ignorant, Ars Sonora, LEM, Danza Intangible, Min Tanaka, Pierre Bastien, Tatsuya Nakatani, Pauline Oliveros, Alvin Lucier, Phill Niblock, Christian Marclay, Ikue Mori, Cécile Schott, Stefan Schneider, Robert and Ronald Lippok, Arto Lindsay, Iñaki Antigüedad, Carmina Virgili, Roque de los Muchachos Observatory, Fuentecaliente, La Fajana, Roque Idafe, and La Palma Research Centre for Future Studies among others.
Not going to lie, at times, I get an uneasy feeling listening to this. However, the cautious emotions behind Olga’s compositional style more often than not evolve into more settling cadences. It’s pretty music, though more of a dirty kind of beauty, that feels rooted in the reality, finding solace in the loneliness and awkwardness of being, versus trying to run from it. Lost Tribe Sound
Dreamy and narcoleptic tunes that integrate the spirit of folk music into the ambient aesthetics. Put this record on while taking a scroll around the block at night and you might start visualising people who might never be seen again in real life emerging at the end of the street. Grief is the essence of this album, and it seeps through like tentacles. plasticseahorse