Chico Dub

To bastante impressionado com o trabalho do Gimu. Drone e dark ambient na veia, muitíssimo bem feito.

Já conhecia o trabalho dele por conta do EP para a TOC Label, mas só recentemente que me deparei com mais trabalhos de sua (extensa) obra.

Amanda Brown	Feb 15 (6 days ago)
to me

hi there, i’m writing because gabriel cyr of teleseen mentioned you as

someone who might be ecstatic to hear his new cassette on 100% SILK.
here’s a free download code!

best!

amanda!

–

Gabriel Cyr, o Teleseen, é um produtor norte-americano que vive entre o Rio e Nova Iorque. Além de transitar entre as Américas do Sul e do Norte, Gabriel também viaja (pelo menos em questões de sonoridade e influências) para o Caribe, a África e o Oriente Médio.

Tantas “viagens” e approaches me lembraram do Maga Bo (norte-americano que vive no Rio há mais de 1o anos), porém o resultado de todo esse mashup não culmina em uma estética global guettotech ou de tropical bass como poderia se esperar. Teleseen é um globalista mas sua pegada é outra e é por isso que o cassete Passages está na 100% Silk, o braço dance/ not dance da Not Not Fun (meca do novo lo-fi norte-americano) e não em uma Mad Decent da vida.

Passages tem no geral um clima bem norte-africano e do Oriente Médio. Deve agradar desde fãs de world music a amantes de house. “Smoke/ Pathways” tem uma guitarrinha reggae irresistível e um vocal árabe auto-tunado. “Frozen Ember” é um dub delícia. “Arenas” lembra uma cumbia digital argentina por conta da timbragem dos synths. “The Cataract Of Sound” poderia ser um remix de música do Omar Souleyman. “The Jewel Ash” soa um exercício dentro da bass music mais contemporânea.

O cassete sai oficialmente no dia 25 de fevereiro, mas você pode ouvir suas 10 faixas nesse link aqui.

Bati um papo com o Gabriel por Facebook mas estou com preguiça de traduzir (precisa, aliás?)

1 – you first started combining dub reggae with experimental music, right? but how did you developed passages’ sound? have you travelled to north africa and/ or the middle east? the sounds are samples or do you play the instruments by yourself?

A few years ago I began to realize that I was limiting myself rhythmically by trying to stay in a particular dub techno palate and began to experiment with applying the same production techniques I had developed with my older material, to more rhythmically complicated and diverse music and working at faster tempos. Or taking beats that we are used to hearing at slower tempos, like a raga beat or a one drop beat and speeding them up to 100 bpm, which can make them seem really urgent. The middle east sound developed because I spent a bunch of time in north africa and the mid east from 2008-2010 and began to try to adopt things I liked from music I heard there without it becoming a pastiche or mimesis. I make an effort not be true to my influences, but rather to make a sound that is a specific creole, filtered through accident and misinterpretation. This to me is how the most interesting things in culture are created, you start by trying to copy something but its ends up being your own thing instead. Like origin myth of reggae that the rhythm was created by bands trying to copy the sounds of funk and r’n'b coming on the radio from the states, but they couldn’t fully hear it because the reception was bad.

Almost everything on the record is played. I’m blessed to have a couple of great musicians working with me. The whole album was recorded in New York and all the sax is played by Morgan Price from the band Ikekebe Shakedown. Percussion is me and few other people, Trumpet is Jay Jennings, Trombone is Kevin Moehringer, everything else, keyboards, bass, guitars, is me….

2 – what is the equipment you had used for the record?

The album is pretty much totally tracked in Pro Tools, sequenced and edited in Abelton and mixed there to. Most of the effects and synths are out board. I still like the unpredictability and tactile aspect of hardware, and I don’t like staring at the computer screen for hours and hours.

3 – how was the contact with 100% silk? do you plan to release more stuff with them? and what are the plans for 2013?

The contact with 100% was done the old fashioned way, by sending a demo. I had been talking to a few labels but nothing was panning out in the timeframe I was wanting it too. After running my own label for years I was wanting to branch out and reach a new audience through a new network. I haven’t put anything out for two years and I have a lot of stuff ready to go. 100% Silk is a great label and they were ready to move the album out quickly. I think there will be another release with them this year, probably a 12″, I’m working on some more dance floor oriented material at the moment for that purpose.

4 – you live between brasil and usa, right? how would you compare both countries space for experimental dance music?

I’m in the process of transitioning to being in Rio more full time, but yeah at the moment I’m back and forth between here and Brooklyn. In the states people go out more to see specific artists and here people seem to go out more because they know certain venues are always going to be fun. In New York everything is very very much driven by commerce and its extremely hard to book a show for a new artist or an experimental artist without having to pay an exorbitant bar guarantee to put the show on, so a lot of the interesting artists that live there don’t get the chance to play there very often, myself included.
It seems like things are changing a lot here and people are opening up their ideas about music. One of the things I like here is that there is less division people between scenes and everyone seems to know each other or at least be aware of each other’s work. Rio is a huge city but the music scene feels very tight knit.

5 – besides working with dorgas, are you doing something else with a brazilian artist or band?

Nothing lined up as of yet but I certain l would love to work with other artist here. Anyone reading this who might be interested get in touch!

–

Neste sábado, na Comuna, no Rio, tem Teleseen ao vivo mais o trio parada dura DJ Guerrinha, Sávio de Queiroz e Lucas Paiva. Imperdível.

Fortune 500 é um novo selo dedicado ao tal do vaporwave, som retro-futurista cheio de synths e drum machines que venera comerciais de TV antigos e gráficos da Internet do início dos anos 90.

O gênero é um desdobramento do hypnagogic pop e de toda a nova cena chillwave/ lo-fi, porém um pouco menos nostálgico, já que é possível encontrar elementos de crítica política (ainda que caricatural) ao capitalismo.

Rabotnik via Facebook:

“Primeiro video oficial do Rabotnik Quarteto Duplo + Arto Lindsay. Com a presença inesquecível do mestre Nelson Jacobina. Em breve o album completo!”

Baterias: Rafael Rocha e Leo Monteiro
Baixos: Bruno Di Lullo e Gabriel Mayall
Guitarras: Nelson Jaconina e Eduardo Manso
Eletrônicos: Bartolo e Estevão Casé
Regência: Arto Lindsay