© 2017

Alfredo Costa Monteiro / Miguel A. Garcia
Aq'Ab'Al
MIKROTON CD 57 | 2017

Edition of 300

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1. No'j
2. Und
3. Toj
4. Sappnicran

Alfredo Costa Monteiro electronics
Miguel A. Garcia electronics

The second appearance of Alfredo Costa Monteiro after critically acclaimed Contour with Keith Rowe, Kurt Liedwart and Ilia Belorukov, and the first physical release of Miguel A. Garcia after Uropygi with Kurt Liedwart, Ilia Belorukov and Dmitry Krotevich on Mikroton Digital.

The album is titled after “Aq’ab’al”, the Mayan Astrology Sign about polar opposites — dawn and dusk, hot and cold, black and white which represents renewal, change, the end of boredom or new beginnings. The album takes off into the territory of spectral modulation of an array of sound waves and intrusions of abrupt shifts in the flow. A forceful energy that seems to be constrained, captured into a muffled atmosphere. Ebbs and flows of the circulation of sound waves, mixed with ferocious textural feedbacks configurate a kind of a primary vibration, combined with high pitch chord sounds seem to draw a kind of strange observance. The music is always in constant movement, avoiding stops and giving no respite in its search for new beginnings.

Reviews

Vital Weekly, Frans de Waard:
Recently I bumped, by accident it seemed, into Miguel A. Garcia, crossing paths in a city far, far away and it was good to see, finally, his modus operandi, even perhaps for that night/tour only. A set-up that consists of computer-controlled feedback and some extra electronics that worked very well in his duo with Sebastien Branche (on saxophone). Here Garcia also gets credit for electronics, just as Alfredo Costa Monteiro. It doesn't mention if this is a live recording or perhaps some studio meeting and to what extend there is an editing or layering of the music. Somehow I don't think the latter is the case, and that all of this is a pretty straightforward set of recordings of some pretty intense music. I would believe that this works very much along the lines of processing internally looped sources together into some very strong, forceful music; feedback maybe, acoustic sounds maybe? I must admit I have very little idea as to what is going on here. If this is improvised then these two men have mighty control over their apparatus to play these sounds. This is nothing for the weak of hearth, I would think. The advise 'play loud' is usually not very well-spend on me, but in this case I am sure it is the only you should do. Just like last week's release by Cilantro on the same label this is something one would not expect but it sure is damn fine release.