Peste
Recorded by Manuel Platino during 2009.
FX and feedbacks by Alejandro Gomez, Manuel Platino and Fernando Suarez
Artwork by Alejandro Gómez.
FX and feedbacks by Alejandro Gomez, Manuel Platino and Fernando Suarez
Artwork by Alejandro Gómez.
Peste was recorded in 2009. The idea behind was to record this very extreme album using no musical instruments. Or using them only to generate noise, and not notes. My plan was to generate some kind of noise library where we could pick the pieces and build each track as a puzzle. We even recorded the vibrations our amplifiers generated on the toilet flush button.
Before Peste, Manuel Platino, Fernando Suarez and I were involved in another musical project called Silence In First Degree, and we recorded an album with the cyberpunk artist Keiji Siratori. I will talk about this project in another post. After this experience I decided to make a new musical experiment with them. At the moment we were VERY into Laurie Anderson, Hanatarash, Keiji Haino, Merzbow, among many others noise artists we could ever find.
I started to be obsessed with feedbacks and controlling feedbacks during the time i was playing in a sludge band in Buenos Aires called Gallo de Riña. We actually played very loud and we incorporated the feedbacks as part of the songs. And Peste was about feedbacks.
We recorded almost everything at Manuel's studio and my rehearsal room. One of th emost annoying sounds that appears in the album is actually a russian small stone that sometimes worked and sometimes not. Of course we recorded how it sounded when he didnt want to work.
I also made somekind of instrument with a wooden clothes hanger, and a casette tape. It was something similar as a violin bow.. I screwed a walkman's playbackhead to a piece of wood, and this was my sample machine for this album.
Before Peste, Manuel Platino, Fernando Suarez and I were involved in another musical project called Silence In First Degree, and we recorded an album with the cyberpunk artist Keiji Siratori. I will talk about this project in another post. After this experience I decided to make a new musical experiment with them. At the moment we were VERY into Laurie Anderson, Hanatarash, Keiji Haino, Merzbow, among many others noise artists we could ever find.
I started to be obsessed with feedbacks and controlling feedbacks during the time i was playing in a sludge band in Buenos Aires called Gallo de Riña. We actually played very loud and we incorporated the feedbacks as part of the songs. And Peste was about feedbacks.
We recorded almost everything at Manuel's studio and my rehearsal room. One of th emost annoying sounds that appears in the album is actually a russian small stone that sometimes worked and sometimes not. Of course we recorded how it sounded when he didnt want to work.
I also made somekind of instrument with a wooden clothes hanger, and a casette tape. It was something similar as a violin bow.. I screwed a walkman's playbackhead to a piece of wood, and this was my sample machine for this album.
