YOU GOT TO GET IN TO GET OUT: El continuo sonoro que nunca se acaba [The Never-ending Sound Continuum] is a long-term research project based on the vision of techno as a cultural, social, historical and material entity.
Between now and January 2022, the different elements that materialise and make this research work possible will gradually appear, including an exhibition that will open at La Casa Encendida in autumn 2021. Monthly radio podcasts will track the progress of this project open to the public.
These posts are like a living organism that will gradually grow and transform over the coming months. The series incorporates two fundamental aspects at the heart of the general project: a situated, hyperlinking listening experience capable of contaminating every sphere of life, beyond the club or the ambiguous temporality of nightlife and its presumptions; and the gestural dimension of techno dance, thanks to the iterative loan of constantly changing, expanding movements among the numerous anonymous bodies on the dance floor.
Both situations produce forms of (re)cognition and trigger relational and emotional possibilities that transcend language, as well as an individual and collective somatic experience that summons the sensuality of a sound continuum with a history: a genealogy riddled with conflicts, absences and appropriations that starts in Detroit and continues in Berlin but also constitutes a global phenomenon in the present.
Over the course of each month, the guest artists in this series will be invited to choose something from the previous session and include it in the next. This exercise facilitates a deliberate dissociation from the logocentric demand and drive that has marked the history of Western music and the predominance of melody, as well as the history of art.
It is here that we find a vindication of suspended rhythm and repetition as elements of resistance which join the political dimension of pleasure, listening and community understood as a collective practice in constant progress and motion.
Curators: Sonia Fernández Pan and Carolina Jiménez.
YOU GOT TO GET IN TO GET OUT: El continuo sonoro que nunca se acaba
Get in. Get in early or too late. These are the first hours of techno. But they could be the last. Low bpm. But enough to start from the bottom. Advance without moving. Arrive little by little. Stay. A warm-up lasting over 6 hours. A session consisting entirely of vinyl records that bring the European clubs of the 1990s into the present, the first clubs F-on began to frequent in Madrid. Despite the difference in intensity between the beginning and the end, this session is posited as a loop of several hours. It starts and ends the same way. Get in early or too late. Get in the middle. Get in to stay.
F-on (Alfonso Pomeda)
His profound, progressive sessions with long mixes span a range of styles, from experimental and ambient music to the most atmospheric horizontal techno. They are stories that pay special attention to sonic materiality. His productions are slow tempo 4x4 experiments with field recordings and marked spaces, where he explores cinematographic structures, timbres and textures. A resident at the Alpenglühen and Prima Materia sessions in Madrid, he co-owns the Antimatter label with Bule. He also directs the eponymous Alpenglühen label, specialised in a deep atmospheric techno sound that explores the thin line between light and darkness. Since late 2019, he has worked with Josephine, Diskoan and Vrika to organise CALMA, a series of daytime events dedicated to easy listening electronic and ambient music in Madrid. He is also co-director of the Downbeat, Eleve and Memories on Wax labels. He co-directs Sonikas, the experimental music festival, and owns the record shop “...is the place”.
"As state and capital continue to deny their systemic violence and we collectively sink into a myriad of global structural failures, here are some pieces of music that are helping me to attempt to make sense of this moment".
As a musician and producer, rkss takes a critical approach to music with their experimental productions, using sound as a series of gestures to explore complex socio-political issues by working with and pushing against social contexts.
rkss' live sets fuse unpredictable, divergent rhythms with radical synthesis techniques to reimagine and explore speculative futures, creating space for new and different ways of being. Releases include Brostep in the Style of Florian Hecker and DJ Tools (UIQ) and was named one of Pitchfork’s experimental albums of 2018.
They are currently an artist-in-residence at Somerset House Studios and are about to begin a month long residency at Wysing Arts Centre.