Belma Martín
Homepage: http://modisti.com/belma.php
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5.1 stream
Stereo Stream
multichannel sound instalation for five tracks
AC3 & stereo reduction sampling
Modisti 02
Belma Martín: voice
Pedro López : electronics
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modisti : this is the end?
modisti 01 (April 24, 2001)
Life doesn’t always favour the positive or healthy we are familiar with, the gleam of a plant nor the indefinite taste of water from a spring. Life enters unknown paths that are yet to be defined; children, don’t show up your faces at the sad scene of the stone- breaker’s who didn’t know how the resist the stone, the light which couldn’t bear its beauty, if you don’t know how to walk, walk slower and if you hesitate… don’t hesitate.
La vida no siempre se decanta por lo sano o lo bueno que reconocemos, por el brillo de una planta o por el sabor indefinido del agua de un manantial. La vida se adentra por ignotos caminos que aún están por definirse; niños, no asomeis vuestros rostros a la escena triste de los picapedreros que no supieron resistirse a la piedra, a la luz que no supo soportar su belleza, si no sabeis caminar, caminar más lento y si lo dudais… no lo dudeis
Belma Martin : voice
Pedro Lopez : Electronics
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If, on the basis of the instrumentation, you expect one of those junk-noise collages which so often don’t work, you’re in for a big surprise. Although on paper Modisti are a duet of live object-sampling and voice, in reality their pieces are carefully constructed. Lopez may play “objects intended for the trash”, but he has no interest in the dull banging about which usually emerges from such an approach.
The key to this duet seems to lie in Lopez’s use of the sampler. Through this, he is able to take the original sounds, process them and work them together into a cohesive whole. What’s really quite astonishing about this disc is that it’s a live recording; everything sounds so crafted, with that overall logicality which usually comes from hours in the studio.
These pieces have all the coherence of electroacoustic compositions, and although some preparation can be deduced from Lopez’s use of tapes and samples, the element of improvisation gives these performances a very attractive spontaneity. Martin uses the extremes of her voice for the most part; at times, as on track three, her choked, gutteral sounds are disturbing rather than particularly musical. For the most part, however, these primeval sounds fuse closely with the electronics.
The result is cybernetic, like one of those moments in a Cronenberg movie in which you can’t be sure whether you’re looking at a primordial animal or a futuristic machine. In that difficult third track, for example, Martin’s in extremis gargling is picked up by Lopez and re-analysed, forming the basis of an uneasy but fascinating game of variations. Lopez, as a promoter of CEDI and editor of the excellent Hurly Burly magazine, here shows himself to also be an extremely capable and interesting musician; Belma Martin’s voice sounds like few others, and her courage in pursuing such an unforgiving path has paid off in this duet.
Those who enjoy electroacoustic composition will love this disc; these are eight very distinctive, challenging and accomplished improvisations at — as the title slyly implies — the border of music and everyday sound.
Richard Cochrane
http://www.m-etropolis.com/wordpress/p/signoise/en/
eleased 16 July 1999
Belma Martin: Voice , Wind objects
Pedro López: acoustic and electronic sounds to be analyzed and reproduced on invented instruments. Reuse of objects intended for the trash. Computer aided design of sounds then transfered to a sampler for live use. Microphony and “real-time” manipulation of electronic tapes width pedals.
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This kind of sample is made from innumerables points of view, the thrill produced by living in a medium which is generaly highly mediated by ideologies and unshared forms and the excitement produced on the other hand by creating a daily living full of interchangeable personal guarantes, with full a complete autonomy in the choice of what we feel is best suited for the developement of our own individuality/totality.
Este tipo de muestra se realiza desde innumerables puntos de vista; la excitación que produce vivir en un medio más que mediatizado en general por ideologías no compartidas y la excitación que produce, por otro lado, realizar un vivir cotidiano pleno de garantias personales intercambiables con plena autonomía en la elección de aquello que sentimos más idóneo para el desarrollo de la propia individualidad-totalidad
released 21 August 1997
Belma Martin: Voice, objects
Pedro López: electronics, homemade instruments, turntables
Recorded in Villamanta (Madrid), August 1997
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Metalogic is part of logic semiotics, that is; of the branch of semiotics that deals with the study of logical signs in general. Metalogic is a metalanguage and as such it has the three dimensions of every metalanguage: The syntactic, semantic and pragmatic dimensions. We might have had the conscious purpose of attaining a musical product, and perhaps even the conscious purpose of carrying it out. But during the course of our work we necessarily had to loosen that arrogance in favour of a creative experience in which the conscious mind played only a small part. We could say that during this process we have had to experience ourselves -the whole of our personality- as a cybernetical model. Our conscious purposes are just fragments and pieces. The systemic view is always something different. This simply is a synchronic cut made during that process. No meaning must be looked for in the expression itself, but rather look within ourselves, in our minds, which wake to the same experience. It is our comprehension and not the meaning of language what reflects the ideas and not the experienced feelings.
“You are the music,
while the music lasts.
There are only hints and guesses,
hints followed by guesses;
and the rest is prayer, observance, discipline, thought and action.”
(T.S. Elliot)
“Metalogic” is a co-production of Spanish National Radio and CDMC (Center for the Diffusion of Contemporary Music).
Mit “Metalogic” bezeichnet man jenen Teil der logischen Semiotik, der sich mit der logischen Zeichensetzung im Allgemeinen auseinandersetzt. “Metalogic” ist eine Metasprache und vereinigt in sich die syntaktische, die semantische und die pragmatische Dimension des zu beschreibenden. In ihrem Stück “Metalogic” haben Belma Martín und Pedro López versucht eine musikalische Übersetzung für die Metasprache “Metalogic” zu finden. Im Studio mußten die beiden Künstler jedoch feststellen das der musikalische Bewußtwerdungsprozess ein weniger systematischer sondern viel eher ein fragmentarischer ist.
“Metalogic” ist eine Koproduktion des spanischen Rundfunks und des CDMC, des “Center for the Diffusion of Contemporary Music”.
“Metalogic” is a co-production of Spanish National Radio and CDMC (Center for the Diffusion of Contemporary Music).
label: modisti
ref: Hurly Burly LE 4
year:1998
players: Belma Martin, voice; Pedro Lopez, home-made instruments & electronics
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