I soon found out that Zan was one of the key figures in the cassette culture, and had collaborative works with more then 200 sound artists worldwide. The encounter during some sessions in a worn down roof apartment in the very heart of Barcelona resulted in the formation of a duo called dnasnow/mouseup. Our collaboration continued in Valencia, some weeks later, where we did an illegal concert in one of the cones of the Calatrava-complex. Recordings from those days came together in dnasnow/mouseup 1 – 6 which were compiled by Zan.

In the summer and autumn of the year 2001 I stayed for three months in Zan’s hometown in Louisville, Kentucky. The outcome of that visit were twelve more releases by dnasnow/mouseup, of which 7 is the first. Listening back to it, several stages in my life come to mind. The spoken word passages bear immediate links to places and persons, very dear to me, and completely unknown to those who read these lines.

But another thing occurred to me. Besides the amazing variety of sounds, and the drive behind it, I once again was struck by the uncomplicated communication between Zan and me. But 7 might also contain information for future sonic archaeologists. It was in 2001, more or less seven years ago, that the US was struck by a so-called terrorist attack. While politicians and media talked about « a world that never would be the same again » we worked on recordings and site specific performances. In 7 one could recognize the aftermath of this attack, and a visionary audio portrait of a country in transition.

I, for one, to describe 7 prefer the epic stillness of a land after the flood. Little and bigger objects slowly float by on their way to grand rapids. The roofs of houses stand praying in the mirrorlike waters. Each little thing is animated, speaks with a different voice. The big rains, the roaring of the invading waters have gone, but if you listen close enough, they are there. Of course each one of you might hear a different story. Ours is from long ago.

« We are the curators of the Natural History Museum of Sound. We will look for, involve and invite hometapers and homelabelers alike to take possesion of the rooms of the Museum. We will create sounds from nowhere, and turn the alphabet inside out, to finally find the words with those holes in them. We will find music you would not dare to call music. »

dnasnow/mouseup

Leo Alves Vieira is a Brazilian composer, Born in February 13th, 1978. Composer of many soundtrack pieces, for theatrical and movie plays since 1994, Leo Alves Vieira has been writing for many other instrument formations in the ‘academic’ scene since 2001. His debut as a composer was at the XV Biennial of Brazilian Contemporary Music, 2003, with the piece « Estilhaços-Constante Volta ao Indeterminado » (2002) for acoustic and electronic instruments, played by OFELEX. His debut album « Sounds of the Orange Coloured Forest » was released in september 2006 by Pralaya Records, from Brooklyn/NY.

« Try to create what you think, and what you think you think. »

Leo Alves Vieira

Em BCP, RTP continua o trabalho de destilação sonoro-Nacional começado nesse pantanoso ano de 2001, com JAE. Ano: 2008. Porn’n’wild.

Pianíssimo alcoólico no Casio SA-5 improvisado. Betereb-es. We can forget love & o piano é um instrumento de eleição pelo tempo fora do mastro-jazzOFF. We can’t forget love & olhos fechados em tardes de primavera, fecundos, amenos, lentos, vagos, lama. Amal! Uno e carrega-se nas teclas uma a uma, às vezes duas a duas, às vezes mais, com toda a técnica e mais Uma. Olha-se a janela e o Sol is falling. Ganza-se o olhar e a janela cai antes. SA-57. Virtude.

Minur foi um pássaro que encantou a corte de Sirah, a casta mais bela de todas as vinhateiras moçoilas. Enfim livre de qualquer mortandade a vinha subiu ao monte Jazz e descendeu. Descentou-se e a partir daqui entra o aleatório. Mil batimentos no fusco. Sempre a parir na teoria tecnológica e cortante na periferia do anal. Sempre a parir. Trogloditas a escancararem-se em tronos e dísticos partidos, e selvajarias a condizer e a soerguer: mais! We & transumância do terreno.

Juca Pimentel – Casio SA-5:pG:2001

Ian Linter:2001:pG.

JAE é a destilação sonora do ambiente político, cultural e social do Portugal ano 2001. Uma visceral e tremenda merda consentida. Os sonos perdidos e as mortes amealhadas pelo fúnebre. Um tormento que se quer bem longo, para logo se poder escancarar a mandíbula em forma de torpedo. As injúrias de um labirinto de animalidade suicida, que os adventos não são de explicar quando falamos do homem-pária, do homem-merda. O espaço consentido para morrer pelo desprezo da inacção. Cosmos do desprezo assumido. Longos dias a penar misericórdias sem sentido, a extinguir assombros de ruína. Os ventos paralelos que indicam a explicação do nauseabundo. Laços a colmatar tiros. Lanças na penúria. Podemos assumir um golpear de baixo ventre, de baixo-homem, de aranha hiperbárica. As nostalgias de um eterno tombar sobre a imundície do sentir. O desmembramento fértil da incoerência e da merda coabitada pelos mentecaptos industriais. Tudo isto congemina o infértil da precaridade e de trombas padecido. Junção da miséria com o saloio da inundação. Fogo para ele. A fogueira para ele. Deitemos-lhe enxofre para que dançe bem. O planeta escolhe os seus carrascos tão bem como escolhe os escravos: eis pois vós aqui assumidos. Arre! Que o mundo tenha piedade!

OLoF NiNe – Dancing Days/Tek No:Ian Linter:2001:pG.

OLoF NiNe – Tek No:Ian Linter:2001:pG.

OLoF NiNe – Dancing Days:Ian Linter:2001:pG.