{"id":10634,"date":"2020-10-24T10:37:00","date_gmt":"2020-10-24T09:37:00","guid":{"rendered":"http:\/\/blog.cronicaelectronica.org\/?p=10634"},"modified":"2020-10-23T09:37:34","modified_gmt":"2020-10-23T08:37:34","slug":"sirias-boa-lingua-reviewed-by-the-sound-projector","status":"publish","type":"post","link":"http:\/\/blog.cronicaelectronica.org\/?p=10634","title":{"rendered":"S\u00c3\u00adria\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Boa-L\u00c3\u00adngua\u00e2\u20ac\u009d reviewed by The Sound Projector"},"content":{"rendered":"\n
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Last heard S\u00c3\u00adria<\/strong> with her 2018 solo cassette<\/a> Cuspo<\/em>, and she\u00e2\u20ac\u2122s here today on the same label with a new tape called Boa-L\u00c3\u00adngua<\/em> (CR\u00c3\u201cNICA ELECTRONICA<\/a> 155-2020). Diana Combo created this work using much the same methods as before \u00e2\u20ac\u201c her own voice being the most prominent feature, along with field recordings, sampled records, and found recordings, all processed in the studio according to her design.<\/p>\n\n\n\n

This time around she\u00e2\u20ac\u2122s pushing the envelope a bit, and the starting point was a bunch of informal recordings of her singing and improvising, which were never intended for release. She found it a liberating experience to do this, and wanted to see if she could repurpose these off-the-cuff experiments, with all their spontaneity and mistakes, into something more structured. At the same time, she\u00e2\u20ac\u2122s doing cover versions of songs \u00e2\u20ac\u201c well, sort of. At least four of the nine pieces here are songs that have been previously recorded or released by others, although the names in this particular list are mostly unfamiliar to me and may mean more to those steeped in contemporary Portuguese music, especially electronica. In any case these \u00e2\u20ac\u0153cover versions\u00e2\u20ac\u009d are also mixed up with samples and remix elements, and disentangling the strands of these mixed threads is not only next-to-impossible, it\u00e2\u20ac\u2122s really not the point of the exercise. Diana Combo has managed to inhabit each work, and make it her own; every one of these nine tracks still carries the faint aura of menace and warning.<\/p>\n\n\n\n

In this work, the warning applies to \u00e2\u20ac\u0153obloquy, reproach, gossip, voluntary misunderstanding, etc.\u00e2\u20ac\u009d and the hundred other ways in which we humans deliberately use language to evade the truth, either attempting to deceive others or (more likely) fool ourselves. The very title of this tape\u00c2\u00a0Boa-L\u00c3\u00adngua<\/em>\u00c2\u00a0is significant, as it translates as \u00e2\u20ac\u0153good tongue\u00e2\u20ac\u009d, the direct opposite of \u00e2\u20ac\u0153malingua\u00e2\u20ac\u009d, which is how a Portuguese person would accuse another of telling tales out of school and speaking behind your back. At a time when \u00e2\u20ac\u0153fake news\u00e2\u20ac\u009d is a hashtag in every other tweet on your stream, what could be more timely? There\u00e2\u20ac\u2122s a simplicity and directness to this music I do like, and I feel there\u00e2\u20ac\u2122s something about Diana Combo\u00e2\u20ac\u2122s outlook which I can trust, and even if some of the music feels a little unfinished, it also has a porous quality which is good. From 12th March 2020. Ed Pinsent<\/em><\/p>\n\n\n\n

via The Sound Projector<\/a><\/p>\n\n\n\n