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马​德​里​现​场 Live in Madrid

by Seijiro Murayama and Cristián Alvear

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1.

about

Seijiro Murayama is a Japanese man who lives in France. He performs with snare, cymbal, gong and also voice. In the 80s, he was involved in some legendary rock projects, though you wouldn’t know it seeing him perform today. Cristián Alvear is Chilean. He has released a number of guitar recordings, some of which are of other people’s compositions, as well as his own. You can hear a background in classical guitar in his playing, however the form is always very simple, at times there is continuous repetition, or only a few minimal sounds.

One afternoon in the summer of 2019, in a large tent in Porto, I grabbed a plate laden with food, and looked around for a free table.

It was a large music festival, and I didn’t recognise anybody there. I had already had a look around the performance space, a luxurious suite in a mansion, French windows on two sides, perhaps a former ballroom. An extremely reverberant space where the smallest sound gathers into clusters and fragments, where the feeling of emptiness imparts tranquility, no desire to speak.

I had just taken a bite when two people sat down before me, one of them Seijiro! The other I hadn’t met before, a guy at least 20 years younger than Seijiro. He said hi, I’m Cristián Alvear. Coincidentally, only the week before I’d been listening to his recently released cassette on Beijing’s Zoomin’ Night. They were in the middle of a tour and had just arrived to perform at the same venue as myself. They left very early the next day, and a few days later, they recorded this record in Madrid.

This album was also recorded in a large, reverberant space. The two performers are situated far apart from one another, similar to the performance that I saw in Porto, the sound however is different to what I heard live. I was sitting in the audience, a different experience to the close-mic sound of the recording. You can hear the resonance of the body of the guitar, and the echo of the snare in the room; the one warm and clear, the other distant, carrying its shadow. The mixture of the two resembles light and shadow leading one another along, each all the while maintaining its distance.

This isn’t traditional, dialogical improvised music. Each performer sits alone, facing the audience, you could say inhabiting his own space. Like two people watching the sunset, not talking, yet having formed an infinitesimal tacit understanding. The centre of the stage is empty, the gaze of the audience is dispersed, their ears listen from all sides, in this way hearing the whole space. This is yet another tacit understanding.

Space doesn’t appear without reason. In their music, each sound is entangled, submitted to the process of the room. Time renders strikes and plucks into coordinates and vectors. Through repetition, they invest the space with form: when the strike of the drum resounds or when the sustained eruption of the granular voice occurs, the guitar resembles a motionless silhouette at the other pole. The space between the two poles or electrodes is not empty, rather the distance between them gives rise to arc lightning.

Seijiro says, the cod in Porto is excellent. It’s true – on my second day, in the festival tent, I ate the best cod I’ve had in my life.

Yan Jun 16.02.2020 Beijing
English translation by John Wilton


村山政二朗是住在法国的日本人。他演奏军鼓、镲片和锣,还有人声。1980 年前后,他参加过一些传奇的摇滚乐活动,但现在完全看不出来。克里斯蒂安·阿维尔是智利人。他出版了很多吉他演奏唱片,有别人作曲的,也有自己的,能听出古典吉他的背景,但形式总是特别简单,有时候一直在重复,或者只有很少的声音。

2019 年夏天的一个下午,在波尔图的一顶大帐篷里,我端了个盘子,盛了饭,找了个没人的桌子坐下来。
那是个巨大的音乐节,我一个人也不认识。我刚刚看过场地,是一套豪华大宅里的一间,也许曾经是舞厅,两面是落地大窗。混响极大,任何一点声音都能变成一簇,一片。这种空虚的感觉让人安静,不想说话。
刚吃了一口,对面坐下来两个人:居然是 seijiro!另一位没见过,至少比他年轻20岁。他说你好,我是 cristián alvear。真巧,一个星期前,我还在听他在北京的燥眠夜出版的磁带。
他们正在巡演,刚到,和我在同一个场地演出。第二天一大早就走。几天后,他们在马德里录了这张专辑。

专辑也是在一个混响很大的地方录的。两个人离得很远,就像我在波尔图看见的那样。但和我听见的不同。因为我坐在观众席里,不像话筒那么靠近乐器。在唱片里,你能听到吉他箱体的鸣响,还有军鼓在整个房间里的回音:一个是温暖明亮的,另一个有点远,带着阴影。两件乐器一直这样配合着,那些声音像光和影子一样互相牵引,也保持着距离。
这不是传统的对话式的即兴音乐。两个人各自坐着,面对观众,也可以说各自承受着自己的空间。就像两个人一起看落日,不对话,但形成了一个最小单位的默契。舞台的中心点是空的,观众可以用散射的目光去看,用全向的耳朵去听,这样,就听到了整个的空间。这是另一层默契。
空间不是平白无故出现的。在他们的音乐里,声音相互纠缠,一起承受着时间的经过,时间让这种重复的敲击和弹拨变成座标,变成方向。通过重复,他们为空间赋予形式:当鼓击响亮起来的时候,或者,颗粒状的嗓音持续爆发的时候,吉他在另一个电极上像一个静止的人影,两极之间并不是空的,距离产生了电弧。

seijiro 说,波尔图的鳕鱼特别好吃。真的。第二天,在音乐节的帐篷里,我吃到了这辈子最美味的鳕鱼饭。

颜峻。2020年2月16日。北京

credits

released March 26, 2020

Seijiro Murayama - snare drum, cymbal, voice
Cristián Alvear - guitar

Recorded by Cristián Alvear at Cruce, Madrid, June 3rd, 2019
Mastered by A.F. Jones
Cover by Seijiro Murayama

About the musicians:

Seijiro Murayama 村山政二朗
 
I live in Paris and work mainly in Europe.
I try developing personal, "radical" approaches with sounds (voice, percussion) in different contexts (solo, duo etc in music, sound art, theatre, dance, visual art) by using both improvisation and composition. 
My work is situated at the threshold of "idiomatic" - "non-idiomatic".
(including some graphic works as a "letterist")

- electro acoustic and conceptual compositions:
(with Lionel Marchetti, Eric La Casa, Eric Cordier, Michael Northam, Jean-Luc Guionnet, Philip Samartzis)
 
- improvisation with percussion, voice:
(solo. duo with Jean-Luc Guionnet, Axel Dörner, Klaus Filip, Ross Lambert, Stéphane Rives, Antonin Gerbal, Cyprien Busolini..)

- transdisciplinary collaborations:
(Jean-Luc Nancy,Ray Brassier,Catherine Diverrès, Dominique Koch, Dominique Collignon Morin..)

- workshop on (non-idiomatic) improvisation with Mattin: www.mattin.org/recordings/IDIOMS_AND_IDIOTS.html

我住在巴黎,主要的工作都在欧洲。
我尝试在不同的语境中(独奏,二重奏,声音艺术,剧场,舞蹈,视觉艺术),通过即兴与作曲,发展一些个人化的,“激进的”的声音方式。也包括一些使用字母元素,“信手拈来”的图像作品。
我的作品处在“习惯性”与“非习惯性”的门槛上。

- 电子原声以及概念作曲:与 Lionel Marchetti, Eric La Casa, Eric Cordier, Michael Northam, Jean-Luc Guionnet, Philip Samartzis 合作。
- 使用打击乐与人声的即兴:独奏,与 Jean-Luc Guionnet, Axel Dörner, Klaus Filip, Ross Lambert, Stéphane Rives, Antonin Gerbal, Cyprien Busolini 等人的二重奏。
- 跨界合作,包括 Jean-Luc Nancy, Ray Brassier, Catherine Diverrès, Dominique Koch, Dominique Collignon Morin 等人。
- 与 Mattin 的(非习惯性)即兴工作坊

urojiise.wixsite.com/seijiromurayama





Cristián Alvear:

Chilean musician dedicated to the performance and research ––in a context of practice research–– of music exploring different kinds and forms of experimentation. He constantly performs in Chile as well as international scenes in Europe, South America and Asia, His work has been published by Edition Wandelweiser Records (DE), Irritable Hedgehog (US), Another Timbre (UK), Potlatch (FR), 1000Füssler (DE), Mappa (SK), Zoomin’ Night (CN), Caduc (CA) and Insub (CH) among others.

智利乐手,致力于音乐表演和研究,基于实践,探索各种类型与形式的实验。他经常在智利以及欧洲、南美和亚洲的国际舞台上演出。他的作品在 Edition Wandelweiser Records(德国)、Irritable Hedgehog(美国)、Another Timbre(英国)、Potlatch(法国)、1000Füssler(德国)、Mappa(斯洛伐克)、燥眠夜(中国)、Caduc(加拿大)、Insub(瑞士)等厂牌出版。

www.cristianalvear.com

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Little Soul 小心唱片 Beijing, China

Little Soul is a sub-label of Merrie Records, based in Beijing, mainly focus on experimental music.

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