Research | GIS Studio
1997-2012 | Cultural & Social Paradigm
"Since we arrived to Spain in 2004, and later in 2006 as members of Musicalibre Association,
- the organisers of the International Festival of Improvised Music Hurta Cordel -, we gradually discovered names and figures, of the main and responsible actors
in Madrid and in Spain, who prompted the experimental scene and improvisation, in a creative, academic and curatorial sense.
Artists like Wade Matthews ( curator of the sound art Gallery Cruce and electroacoustic musician [ar002 | ENANTIO DROMIA]),
Pedro López (sound artist-¡, jazz drummer & developer/programmer, and promoter), or the galician double-bass player Baldo Martínez, one of the most
representative musicians within Spanish contemporary jazz.
Artists that have come to light again and again in conversations with other great musicians of the next generation of the contemporary Spanish scene.
Like (Pablo Rega [ar008 | IED8], Nilo Gallego, or Ricardo Tejero [ar001 | ENSEMBLE PROGRESIVO]
), mentioning them as teachers, trainers and creators of numerous associations, festivals and other innovative and groundbreaking projects
for that time in Spain - around 1997 -, and who were working with improvisation and experimenting long before.
It was in the words of Ricardo Tejero (London Improvisers Orchestra, Ensemble Progressive), we discovered that Wade was a great saxophonist...
then we found Fases where Wade and Pedro López played together.
Talking with Paul Rega (IED8, BANDA D’IMPROVISADORS DE BARCELONA, OMEGA ORCHESTRA) and Nilo Gallego, they introduced us also - talking really excited -,
about all the movements and a storm of things that were brewing in Madrid with the creation of Musicalibre and as many other collectives and alternative creative experiences.
Each one of them, explaining in their own words about a Spain - in force, hyperactive and creative, sometimes we dare say, more active than now.
That was at least the interpretation we make after many conversations, listening and learning through the enthusiasm of all these great spanish
musicians and improvisers, who were part of that period as students and as "initation"... excellent examples of the
work transmitted by these great masters of improvisation in Spain.
Pablo Rega: "every week a new association or festival was born (jokingly)... they never stop working... and yes, definitely that was
just the beginning."
Modisti is probably a perfect example of a legacy of professional enthusiasm that accompanies the intense career of the sound
artist-drummer-programmer Pedro López. A selfless paradigm of social and cultural dissemination on how to construct active networks
and support for art and music.
Julian Bonequi | 16:40 PM. Berlin 21/02/12
The percussionist and improviser Pedro López is a founding member of three iconic groups in the field of experimental music: Modisti, FASES ( a duet with the American saxophonist Wade Matthews ) and Scorecrackers, with Swiss trumpeter Markus Breuss.
Pedro López and vocalist Belma Martin, both founding members of Musicalibre Association and pioneers in the interpretation and the dissemination of free improvised music in Spain create the project Modisti that is
much more than an outstanding electroacoustic duo of improvisation.
The project hosts a virtual sound archive on its website that has over 1500 references on experimental music labels since 1997.
A promoter also of the International Festival of Improvised Music Hurta Cordel,
and the Hurly Burly magazine. Founder also, with Wade Matthews and the galician bassist Baldo Martínez , of one of the most important groups
in the history of jazz and free improvisation in Spain: Zyklus. In early 1990, Pedro López introduces computer programming in addition to his
work as a musician, as developer of audio-visual installations and intermedia concerts.
In this sense, his collaboration with the artists Concha Jerez and José Iges will result in a series of works as a developer and performer
and the performance of the combined works.
He - thereafter - devoted to the interpretation, vampirism and design of electroacoustic instrument and interactive systems using ultrasound
sensors mainly to control the octophonic sound specialization and
various video and lighting systems. Also with Belma Martin, creates educational center CEDI (Center for Interactive Development Meeting),
which is dedicated to teaching for a period of 8 years
and of the realisation of the Symposium CEDI of Experimental Music and the Meetings of Improvisers under the Fundación Olivar de Castillejo in Madrid.
Also has teached in the school Taller de Músicos de Madrid and the School "Studio" of Santiago de Compostela as a professor of percussion.
In the field of Jazz, a permanent drummer since its inception of the ensemble of the bassist Baldo Martínez, group who form the rhythm section for
over twenty years in various projects.
Known and recognized in the Spanish and European music scene - there are many the concerts, performances and festivals where he has participated
- is currently working with German artist
Rilo Chmielorz producing concerts, multimedia installations and works for radio.
Text from apoloybaco.com
01.Wade Matthews & Pedro López | Fases 1997
FASES is the first release of Modisti. The duo by Pedro López, Madrid (acoustic and electronic percussion) & Wade Matthews, New York (bass clarinet, alto flute, saxophones, voice & electronics).
Recorded live in Madrid (Festival Punto de Encuentro), Palma de Mallorca (Festival Ressó) & Valladolid (Festival Musikoken) 1997.
Fases has performed in numerous concert series and festivals, including Paralelo Madrid, where they also improvised in trio with British electroacoustic music pioneer Hugh Davies,
the VII Festival Musi-Koken in Valladolid, the concerts of the London Musician’s Collective in London, Ressò on the island of Mallorca, the Festival of XX Century Music in León, the International Festival of
Electro-Acoustic Music – Puntos de Encuentro V in Valencia, and in trio with German double bassist Peter Kowald in Madrid, Huesca and Leon as part of the International Festival of Improvised Music – Hurta Cordel ’96.
They have also made on-site recordings at the BBC in London, the Atelier de Creation Radiophonique/France Culture in Paris and Radio Nacional de España in Madrid, Valencia, etc.
02/12.Jorge Sad | L'esprit De L´escalier 2011
Gest(u)alt Ensamble. Chamber music trio, live electronics and video. Juliana Moreno (flute), Claudio Eiriz (percussion), Javier Mariani (clarinet & waqra-phuku), Gabriel Gendin (sound sonido & spatialization).
Jorge Sad( composition & conductor). Guest videoartist: Deborah Lynne.
Retransmission is a collective creation based on Antonin Artaud’s radio phonic work entitled “To Have Done With Judgement of God”.
(Pour en finir avec le judgment de Dieu) in wich performer’s musical gestures are intengrated to the composition.
The old vinyl recordings of the performance have been digitalized without any restoration processs, in order to leave “the sound of time” untouched.
The sonic character of the hooch of Artaud and the other actors (María Casares and Roger Blin), their visceral inflections and strong sound qualities, are the models that we have taken to elaborate the character
of the different sections of the work.
It’s important to remark that the year of the programmed premier of Artaud’s radiophonic work is the same as the invention of “musique concrete” by Pierre Schaeffer and occurred at the same place,
radio France, but Artaud’s work was not broadcast over the airwaves until thirty years later.
03.Karlheinz Essl & Hans Tammen | Mental Mess 2010
Hans Tammen: endangered guitar, electronics
Karlheinz Essl: m@ze°2, kalimba
On May 7th 2010, Austrian composer Karlheinz Essl and New York-based guitarist Hans Tammen met for a recording session at Harvestworks in New York City. Without any preparation or prior consultation,
both musicians created this music in the spirit of free improvisation, connecting themselves in order to form a higher unit out of their individual sounds.
04.Martin Back | Paper Bag Piece 2009
Martin Back is a sound/media artist, musician/composer and sonic provocateur living and working in Santa Fe, New Mexico, USA. He studied film
and video at the College of Santa under the tutelage of pioneering media theorist Gene Youngblood and media artist David Stout. He has studied experimental composition and sound art privately with composer David Dunn.
Martin’s work is multiplicitous and makes use of drone, graphic and text scores, digital computers and software, custom analog electronics, field recordings, noise, custom instruments, and site specific performance.
He performs often in various ensembles in New Mexico, including the Ancestral Groan Liberation Orchestra; the Soundpainting Orchestra of New Mexico; and The Transducers.
05/11.Nick Hoffman | Black Cat Singer 2010
Five Compositions for Amplified Sewing Machine. "Initially I wanted to simply record the sewing machine at different speeds for a predetermined amount of time: two minutes of largo, two minutes or larghetto, two minutes
of adagio, progressing up to a frantic presto. As an exercise it was useful, but it lacked the feeling of “music.” After some thought, I decided to focus not on the speed of the machine, but on the different mechanisms within
the machine (I also recorded the machine’s vibrations through other objects such as a table and a piece of sheet metal resting against the machine’s hand wheel). The resulting compositions each utilize different aspects
of the sewing machine’s internal and external mechanisms."
06.Modisti 02| What's happening? 2003
What's happening: multichannel sound instalation for five tracks |AC3 & stereo reduction sampling | Modisti 02
Belma Martín: voice & Pedro López : electronics
14.Modisti 01| This is the End 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.
Belma Martin: voice
Her musical activity is centred in the voice as an instrument and everything that is alive is used as an argument to make from this natural gift a witness of her own inner developement.
She builds a language which is direct, without any possible censorship in the aesthetic domain, expressing her own attitude towards all that proves to be a challenge to accept certain changes, feelings and emotions.
Her source of inspiration lays in the deconstruction of harshness and noise, and in the accidental sound world of what is unacceptable; nothing that comes from her interior is ever rejected because creating implies starting
from what we already are, and since the voice is a pleasure in itself, all that we can do is to organise that flux, polish it, and in the worst of cases, discipline it.
Pedro Lopez: Electronics
Decomposition. Virtual & electroacoustic instruments interpretation vampirization & design. MIDI systems analogic-digital ineraction with MAX/MSP. Electronic percussion systems.
Computer programming and design of installations and audiovisual projects. Technical development and project design for the web environment. And a excelent jazz drummer of many legendary experimental projects, bands and ensembles
with the best musicians of the iberian panorama.
07.Morphogenesis | Improvisations 1999
Ron Briefel: realtime sound processing
Adam Bohman: prepared violin, balalaika, objects
Michael Prime: water machine, radio, strings, electronics and sound projection
Fred Sansom: prepared guitar, electronics
Clive Hall: microphones &small objects
Roger Sutherland, piano, percussion, docks
hurly burly collection | CEDI
08.C. Reider | Formerly Sine Drones 2011
The sine waves were altered by changing equalization (EQ changes, and/or low & hi pass filtration), and dynamics (volume, panning and compression).
Occasionally the sounds were overdriven. The intent was to move as far away from the base frequency as possible, to explore overtones and whatever other sound artifacts could be found in repeated equalization treatments.
09.Graham Dunning | Tape Ghosts 2011
This recording is a stereo mixdown of the three channel sound element of an installation “Untitled” (2010) by artist Graham Dunning.
The recording is a composed collection of sounds from discarded reel-to-reel tapes dating from the 1950s to the 1970s: people singing nursery rhymes and popular songs alongside hiss, hum
and crackle from the analogue recording process. The installation features three tape machines paying these disembodied sounds. “Untitled” was first exhibited in
April 2010 at “Lost Language” at Kraak gallery in Manchester, UK, and most recently at “Time Pieces” at the Peter Scott Gallery at Lancaster
Institute for the Contemporary Arts in March 2011.
10.Voice Crack: Norbert Möslang & Andy Guhl 1997
"Voice Crack played in Madrid on June the 18th 1997. The CEDI intended to include this recording in its collection of CDs and Andy & Borbert, showing a generous collaboration with our projects permited us to do so.
There is an interview done with Voice Crack thru internet which appeared published in the #1 issue of the Hurly Burly magazine." Modisti
Sound engineering: Wade Matthews | Mastered by: Marcel Garbi & Pedro López
13.Hyperion Quartet | Hurta Cordel 1997
Michel Doneda: soprano sax and sound devices
Lê Quan Ninh: percussion and computer
Jean Pallandre: tapes and analog synthesizer
Even Ruud, Head of the Music and Theatre Institute in the University of Oslo says about improvissation that it is:
«A vehicle for self comprehension, a means of creating and repressenting new cathegories of «non-referential» experiences. The quality of life (expressed in terms the feeling of actually living a good life) might be in
relationship to this capacity of representing and making significant what we experiment in a pre-linguistic level in music´.
Improvisation helps us to integrate into a group on a psychic level, making access to such experiences easy. This is something that Niklas Luhman, a contemporary communication sociologist, prove. His theories explain social
systems have evolved from mutual uncertainty and unpredictable situations:
«People that have taken part in ´collective, group based, free improvisations´, might have experienced the process that leads from total chaos to consensus within the frame of a common code or structure. Thus we can take
such collective improvissations that occur in our field as examples of the art of social organization».
Through the improvisation game we stablish a dialogue with external reality: we comment on it, change it symbolically, make dramatizations of it, etc. without suffering the same consequences that a real situation would imply.
hurly burly collection | CEDI Centro de Encuentro para el Desarrollo de la Improvisación
Sound engineering: Wade Matthews
Mastered by: Marcel Garbi & Pedro López
15.Hans Reichel & Rüdiger Carl | Hurta Cordel 1997
The Reichel-Carl Dúo participated in the II Internationational Improvised Music Festival Hurta Cordel with a concert given at the Goethe Institute in Madrid on June the 18th 1997.
Hans Reichel: guitar, daxophon, violin. Rüdiger Carl: accordion, concertina, clarinet.
The CEDI intended to include this recording in its collection of CDs and the Reichel-Carl Dúo, showing a generous collaboration with our projects has permited to do so.
There is an interview done with Lê Quan Ninh on the very day of the concert which appears published in the #2 issue of the Hurly Burly magazine.
Mastered by: Marcel Garbi & Pedro López
[ar062] MODISTI 1997-2012
Cultural & Social Paradigm
Promotional compilation curated by Julian Bonequi.
Fases: Wade Matthews & Pedro López, Jorge Sad & Gest(u)alt Ensamble [Juliana Moreno, Claudio Eiriz , Javier Mariani, Gabriel Gendin],
Karlheinz Essl, Hans Tammen,
Martin Back, Nick Hoffman, Modisti: Belma Martin & Pedro López,Morphogenesis: Ron Briefel, Adam Bohman,
Michel Prime, Fred Sansom, Clive Hall, Roger Sutherland, C. Reider, Graham Dunning, Voice Crack: Norbert Möslang & Andy Guhl,
Hyperion Quartet: Lê Quan Ninh, Michael Doneda. Mari Kimura, Jean Pallandre, Hans Reichel & Rüdiger Carl
Special thanks to Pedro López for his big support, Modisti and all the artists
involved. Picture taken from "Tape Ghosts" release. Design by Aniana Heras.