In the stillness we touch the eternal?
With this new edition, Miguel A. García definitively abandons the low fidelity of his early work to give detritus, error and acoustic waste a luxury treatment that is recommended to be heard in good equipment. Just as before we heard their disturbing worlds from afar, we intuited them, now we are in there, we are the very central nucleus; we are part of it. What used to come from outside now comes from within. The remnants of light are brighter than ever. The most blinding darkness.
Quite simply: the first piece begins with the sounds of a field recording of a hypothetical space junk video game that, in an alien environment, organizes itself into a musical symphony, takes shape and organizes itself according to a logic of elusive masses .
The following theme shares with the first the lack of a marked regular rhythm, but instead they do have their tempo, their internal rhythm, their cadence based on micro-rhythms and sequences and frequencies, which make them not static but enormously dynamic. A liquid, mercurial nature (cold, but a good electrical conductor); constantly changing; an apparently imperceptible but profound metamorphosis.
On the other hand, the third theme opens with a mixture of the most unusual rhythms, a bizarre dance session in crescendo; psycho-electroacoustic dance. To close the cycle, the fourth piece brings us the melody seen through a hundred thousand veils, as sensual and seductive as elusive and painful.
The dissolution of all that is solid, the eternal and unstoppable dissolution of matter and its return to nothing.
Miguel A. García, also known as Xedh, is an artist resident in Bilbao who works on the field of experimental music and sound art. Trained in Fine Arts, he works on electroacoustic composition and improvisation, using sources obtained from the manipulation of electrical devices, sometimes mixing these with sounds of acoustic instruments and field recordings.
Both solo and in different groups, he has performed extensively in Europe, America and Asia. He has collaborated with many artists, both in studio and live, such as, among others: Alfredo Costa Monteiro, Ilia Belorukov, Francisco López, Francisco Meirino, Seijiro Murayama or Jean-Luc Guionnet. His work appears in more than a hundred albums with labels, such as Bestiarie, Crónica Electrónica, Cyclic Law, In Solace Publishing, Intonema, Malignant, Mikroton, Moving Furniture, Pure Reactive, Sentient Ruin, Slaughter Recs, etc.
At the same time, he works as event organizer and curator. He is the founder of Le Larraskito Club (Bilbao), the director of the Zarata Fest (strange/unusual music festival) and part of the organization of the Hotsetan cycle in Azkuna Zentroa (Bilbao), all of them platforms for the dissemination of different, odd and risky music and related disciplines.