Por fin recuperamos esta referencia perdida a cargo de Johannes Buff, productor y guitarrista de origen francés, cuyo fantástico debut apareció en el sello Utech Records. Su estilo habitual apuesta por el drone, a veces oscuro, a veces intimista, pero siempre melódico y emocional, realizado a base de manipulaciones de su guitarra y algunas incorporaciones electrónicas. Sin embargo, para Larraskito nos presenta un trabajo diferente y muy especial, entremezclando referencias previas de este sello con grabaciones de campo realizadas alrededor del Club Larraskito, en Bilbao, en un trabajo mas cercano al collage en el que salen a relucir algunas de las influencias mas psicodélicas del artista. Un bonito homenaje a la primera etapa del sello, y en general, a la escena de música experimental del País Vasco, que no podemos dejar de agradecer a Johannes.
/////// LARRASKITO #13 - We Will Leave A Stain As Evidence
(the creative process)
I envision Larraskito as a tribute to the very prolific music scene that basque country’s strong character and ethics fathered. Fiercely independent, the basque imprint on sound stays unique, in every genre
As someone whose musical approach grew up within this context, but with a foreigner personal background, I always felt in deep ideological connection, but sadly sterile on concrete and durable contribution. In lieu of delivering a tribute to these minds, I choosed to reinterpret the previous releases of the Larraskito catalog in the form of a compilation.
I have nothing against concepts, but generally the points making me feel satisfied are linked with the aesthetics of the piece, not its genesis. So I’m always trying to figure out how the feeling of harmony and intensity can be improved, pushed forward. In a way, I’m trying to fill the gap between "popular" music and experimental music by making it easy listenning, and vice versa; trying to make popular music artistically interesting with a use of uncommon production/instrumentation. But it’s a bit of a dangerous formulation as it reduces both sides to their results as noises.
It is funny to be invited to produce something here because there are only some bits of ideology that could link my work and Netlabel Larraskito. May it be a path for further exploration...
For this work, I took 3 different points of view; creative, objective and conceptual.
This work uses, as sound sources, the first title of each of the 12 first releases of Netlabel Larraskito. I don’t apply any numeric processing on the sounds; just edition, with a few tape delays and EQs as outboard gear.
Please play as loud as possible and preferably on speakers.
///////// 3 TRACKS
// Give me your first born (...)
a remix of the sum of these tracks, with no different method I’d use for any other remix I’d do; build something captivating and nice sounding, using the same process as for my regular works.
// Linea 72 - "Gran Via" to "Larraskitu"
Daring attempt to illustrate how I see this music field in basque country: common (understand natural, innate), urban (not to say post-industrial flavoured) and close to the individual (as the human beings behind all this music are not transcending the artistic values of their works).
While residing in Germany, I asked Miguel A. Garcia and Edorta Izarzugaza to record their journey in a bus on the Line 72 in Bilbao; this bus line is heading to the Larraskitu neighborhood from "Gran via" to "Larraskitu"....
// (...) and I’ll cut its umbilical cord
A piece somewhat belonging to concrete music enlighting a remarkable complementarity between all these artists. Every track is played simultaneously, with only slight volume adjustments and fade out regarding timing issues. They should all play together as a big band! I would gladly be "conducting" such an act...
(about the instruments)
the instruments here are the artists of the 12 previous releases of Larraskito’s catalog.
(about the images)
It took me a very long time to complete this release mainly for 2 reasons:
I had a harddrive crash, and had to build everything again, and then I couldn’t find the right visual that would illustrate both Larraskito and the work itself.
Later in the year, I got invitated to perform at the Larraskito Club with Animal Hospital, I was astonished by the place, raw concrete and dust, but what captivated my attention was the corner where we would play. A 2,5 meters wide recess with a metallic table and a pile of brick tiles at each side to support the monitors.. and just a few steps behind the performer, 2 large doors opening 4 floors of emptiness above the street.
I asked Katharina F. Shields (who was touring with Animal Hospital) to shoot some of this dangerously beautifull space; a tumor in the city, eroding little by little its conventional nature
::::after printing them, cut on the plain lines and fold on the dashed ones to get a 3 folder booklet::::
(the evolution of this work in the context of my whole work?)
The first throw of this work (before drive crash) was very natural, even if I’m not used to concepts, I felt very soon I would take that direction. I worked very quickly and enthusiasticaly.
Then, the crash occured in a very busy period, I was more applied to recordings and the likes than to personnal creations. I got pretty frustrated to have lost all this work (and much more!), so I wanted to burry this feeling by providing a completely different piece of work called "engineered by johannes buff". This very conceptual was an illustration of my helplessness to this regrettable event. In one hand, I would be very active "engineering the recording of this piece" and in the other hand completely voiceless performing it, a contemplative and contained reaction to this frustration, the result was the roomy sound of silent cranked up amplifier and guitar.
After performing and recording this piece, I decided to re-do the initial work that had previously made Larraskito label boss enthusiastic....
(about my origins)
The Beatles and Nirvana as a kid.
Arteleku with Jason Kahn as a curious young man.
Textures and epic sounding as an active sound engineer.