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.
“With profound gratitude to my colleagues for their magnificent music for my 777 years: Aleksi Perälä, Aner, Alva Noto, Claudio PRC, Donato Dozzy, Matteo Cortese, Perc&Fractal, Rrose, Ryuichi Sakamoto, SARS & AR, SØS Gunver Ryberg and The Lotus Eaters.” Cio D´Or
777 years or 16 min or the hypnotic iterativity of forgetting time
Changes slowly unfolded, capitulated, without major breaks. Kinetically rather than synthetically, the piece 777 years by Cio D’Or moves (un)consciously towards the production of a new time. A timeless, elastic, uchronic time that eludes musical grammars, intruding on the frontiers of techno, ambient and dub to hear its own listening.
Cio Dorbandt is a key figure on the German techno scene. Born in Hannover, she spent part of her youth in 1980s Berlin, studying and working as a dancer. A resident DJ at Munich’s Ultraschall club since 2001, she rose to international fame in the late 2000s while spinning in booths at the Berghain, Tresor and ://about blank.
With years of experience as a DJ, studio work came slightly later, although her sound has become essential to tracing the fragmented genealogy of minimal and deep techno, along with that of more habitual artists like Mike Parker and Donato Dozzy with whom she regularly collaborates. She has recorded albums and EPs for labels like Prologue, Telrae, Hypnus, Time to Express and the Madrid-based Semantica, which just released her latest album, Fluidum III (Semantica, 2010).
"listening to a mix is to witness an unfolding over time. tensions and narratives play themselves out, as themes rise up, disappear and return. this mix is indebted to the loop. the loop is a point of eternal return, and a mix of loops is maybe less of an "unfolding" than it is an "oscillating" or even "flapping". this flappy mix centers on the mythology and aquatic justice of Drexciya, which is itself a world dislocated from overriding conceptions of time and "progress". let us take a swim in watery eternity."
Stephen McEvoy is a _______ living in Copenhagen. He usually manages to make enough time to water his ______ and maintain a fairly healthy _____. When not making techno or researching “space”, he tries to learn new ________, but often struggles with assertiveness. He is trying to get better at Danish, to integrate better into the Danish ________ and so please the racist Danish government. He works at the Royal Danish Academy of Fine _______ and makes radio for Dublin Digital Radio. He records music under the artist names tuuun and ___________. Since 2016 he has led the label and publisher FLUF, which acts as an inclusive platform for daring artistic work. He is unfortunately addicted to ________.
Records mutate the forms drawn by maps and permit gestures we use to mix narratives. Post step ideas born as dub, organic lines like flares. Objects that make it possible for us to discuss certain sonic contagions that help us to demilitarise, putting the geo-temporal lines of content production and distribution to the test. Selection and mix operate by curating sound, provoking thought through an experience akin to making patches with the body. Techno music as a context that listens rather than a 4/4 style. An interstice for working as a way of reflecting on the brown, interconnected common ground, now vulnerable and muted.
“I’m very happy to share the music we listen to and mix with Edu at home, which is part of the trans-thesis narrative experiment that is writing a session.” Felisa Magui
Magui Dávila y Felisa
She runs laslindaspobres (laslindaspobres.tumblr.com) and is one half of @deleteD_accion_sound. She curates graphic self-publishing and sound performance initiatives in projects like “Cabaret” and “I’m Building a Geodesic Power Structure_ Clinic/encounter on print and sound self-publishing” with Svreca and Semantica Records for MACBA, Barcelona. She also facilitated “Corrimientos de Voces”, “Arbustos, Sustancias, Pelos y Ruidos” and “Internatural Techno Waves” for the Picnic Sessions of the CA2M, Madrid. She is in charge of graphics for the She Makes Noise festival at La Casa Encendida. Magui is currently doing research on 90s techno music in Madrid for the Museo Reina Sofía Study Centre. She studied Visual Arts and the History of Contemporary Art and is researching sound performance and the political value of bodies in techno club culture for her doctoral thesis at the UAM. She also coordinates and produces for Stardust, Aback and Cassette Club.
“it’s a mix of nostalgic emotions that were never danced, a union of songs created between thin walls, with no other sweaty bodies, and listened to with reclining torso and fidgety legs in studios inside airtight houses. when i think of the possibility of escape the tracks had, i also think that the ideology of listening needs to add body to the ears, system, recognition of living interdependent materiality. or perhaps not, but this mix is a matter of exploring sound with the legs, so that the landscape isn’t always so far away, walking a bit, or running, or swimming, or dancing in the sounds with no aim other than to let the air between beats seep identity into our pores. there are many friends i couldn’t listen to, couldn't see, couldn't dance to in bodily person this year, so in a way i’m thanking them by putting them together with other sounds, some my own and some very much not, so that they can still be heard and overlapped like when sweat drips from the ceilings of poorly ventilated dives.”
Efe Ce Ele aka Feli Cabrera López
Colombian artist, trans and non-binary activist, founder of the Fragment A label. Defying classification, she works in an emotional, cinematographic style with no defined genders. For a long time she defined herself as a “noisist” and maintained that spirit until her latest productions based on beats that oscillate between styles like IDM, techno, electro and ambient. She has played in various cities across Latin America and Europe and released music on different labels, including Insane Industry (Trieste), CONCRETE (Brazil), Specimen Records / Sound-Space (London), Éter (Medellín), Dissident Movement (Naples), Ghara (Switzerland / Spain), Píldoras Tapes (Bogotá) and Cartel Recordings (Berlin).
This mix is Damián Schwartz's review of Detroit techno based on his personal experience. The set attempts to convey what this producer and DJ considers indispensable or genuine elements of what “Detroit sound” means to him: risk, daring and the abstraction of African American music traditions, guided by funk, soul and jazz. The ability to combine these elements is what made Detroit a unique, easily recognisable sound. From Atkins and Omar S to Drexciya and Robert Hood, this podcast was recorded on vinyl at the Palma 39 record shop in Madrid and includes a few needle skips courtesy of some heavily spun records.
Damián Schwartz (Madrid, 1983) is a musician, producer and DJ. Since his career began in 2002, he has performed at clubs and festivals like Mutek in Montreal, Sónar in Barcelona, Berghain in Berlin, Rex in Paris, Lux in Lisbon, Resolute in New York, Flash in Washington and Robert Johnson in Offenbach, among many others. Damián is a key figure for understanding contemporary experimental and electronic music in Spain and its impact on the international scene. He has worked with cultural institutions on the production of works and installations; for example, he composed and selected the soundtrack for Jean Painlevé’s documentaries at the Museo Reina Sofía, and his collaboration with architect Andrés Jaque was presented at the Design Museum in London. Damián currently runs Lyrebird Sound, a sound mastering, design and restoration studio in Madrid.
“I made this mix in a different way than usual. These days I'm listening to a tone of beatless music mostly ambient or music concrete. I tried to find a way to give more important to quiet and "silence" moments.
I hope in a way this mix represents my current mood". Aho Ssan.
Aho Ssan is the artist name of Paris based Niamké Désiré. After studying graphic design and cinema, he began to compose electronic music and create his own digital instruments. Shortly thereafter he went on to win the Foundation France televi- sion prize for his soundtrack to the lm D’Ingha Mago in 2015 and has worked on several projects related to IRCAM. His debut LP Simulacrum was released on the 7th of February 2020 Via Subtext Recordings.
Based on the concept of Jean Baudrillard, it navigates through society’s presentation of inclusivity and equality against my own experience of growing up black in France.
Aho Ssan debuted Simulacrum at Berlin Atonal 2019.