Sunday, September 2, 2007
FLESH AND BONES FROM A MICROSCOPIC WORLD
All I can say is - This man uses real silence as an instrument and it sounds like a beautiful violin:)
SHORT ARTIST INFO:
Fernando Corona was born in 1970 in Tijuana, Mexico and was raised in the nearby port of Ensenada. In 2000 he returned to Tijuana where he has continued to live and work. He was for a time a member of the Tijuana-based Nortec Collective of electronic musicians under the Terrestre project name. Martes is his debut album under the name Murcof.
"A very assured debut, creating a sound world that's undeniably 'now' yet conjouring an aura that is both active and peaceful, audaciously still... somewhere between Giya Kancheli and Apex Twin... a rare feeling of size and space"
John L. Walters, The Guardian
"Spooky and etherealmicro-dub from Mexico... Cologne-style crackles with an orchestral simplicity worthy of Arvo part or Henryk Gorecki... genuinely otherworldly and refreshingly bizzare"
"Strange, lucid, mysterious, heady and utterly compelling, it is without doubt the best thing ever to come out of Central America"
5 dancing men, 7 Magazine
taken from http://themilkfactory.co.uk
Martes mixes arid micro beats and electronic noises with beautiful atmospheric soundscapes to create a unique piece of highly emotional and textural music. Corona manipulates his delicate constructions with expertise, slowly introducing layer after layer of sounds to slowly build intense patterns where intricate melodies flourish freely. Despite Memoria being strangely reminiscent of Polygon Window's eponymous track, Corona establishes very little connections with the existing electronic scene, concentrating instead on developing his own rules. Strings, pianos and woods are fully integrated with the more electronic sounds, giving each track incredible consistency and evocative power. Again, when he introduces human voice, as on the stunning Mapa, Mir or the moving Muim, he works at creating symbiotic environments to the point where it becomes difficult to dissociate reality from synthesis. Muim, perhaps more than any other track on this album sums up the Murcof equation. Here, voice, cello, drones and static beats support and complement each other in the most exquisite way, creating a complex model of contemplative incandescence, not dissimilar to the composite minimalism of Pärt or Gorecki. Martes, by all means an elaborate Record, proves to be an extremely rewarding work. Far from being inaccessible and pretentious, the compositions are fluid and profoundly enjoyable. Corona seems to incorporate multiple levels of complexity all the way through, allowing the listener to appreciate this record from a different angle each time.
If the outer structure of Martes is electronic, the modern aspect of it is to be found in the more unusual components of Fernando Corona's music, and in the way they interact with each other. No other electronic record has ever offered such an extensive scope and sounded that coherent. This first Murcof album is intrinsically contemporary, and above all, a true masterpiece. Definetly, the 2002 Album of the Year.