Miguel A. García .
Red river / Rio tinto
( Ghost&son, 2012 )
 
 

"Miguel A. Garcia was once best known as Xedh, dealing with all sorts of electronic music, but under his own name he works with more interesting aspects of microsound and noise. He is also a member of Mubles (not a particular favorite of mine) and Cooloola Monster. Various musicians of these group deliver sound material for this release. Nine pieces in total here, which I think should be regarded as sound recycling of his other work. Taking bits and pieces of his ’other’ work, collating them into new pieces of music, reminding me of P16.D4’s ’Distruct’ work or similar works from the Selektion label. Its a form of musique concrete that is hardly used these days: a bit noisy, with some clear cuts from instruments (drums, guitars, voices), cut and paste together into a new configuration. Now this is all much more noise based than one would expect from Garcia these days, but the collage like variation of noise is a rarity and since Garcia does a great job I am all for such an intelligent outing of noise. A consistent release." ( Frans de Waard, www.vitalweekly.net )

"Always good to try and challenge yourself I guess.Writing about tonight’s CD is certainly a challenge for me, not only because I have worked twelve hours today, and haven’t had a day off for seven days now, but also because the CD in question isn’t something I would usually write about, and quite frankly I don’t know if I have enjoyed listening to it either. Forcing myself to write something about it then, in this state of exhausted mind is an interesting experiment. The disc in question is another three inch release on the Pilgrim Talk affiliated label Ghost and Son. This one, titled Red River/Rio Tinto by the Spanish musician Miguel A. Garcia pushes the maximum length of a 3″ right up to the twenty-three minute mark and somehow fits nine briefs tracks (songs?) into that space of time. The music is an often very loud, lo-fi set of pieces put together on a computer by Garcia that involve shouted, scratchily recorded vocals blended into guitars, percussion and other noisy bits and pieces.
I think I lost the ability to place music of this type into the correct genre categories about fifteen years ago. For me the reference points here would be things like early Boredoms, Yamatsuka Eye’s work with Otomo Yoshihide and a grainier, more electronic Melt Banana. Garcia takes the wailing, shouting vocals of Alba Burgos and Ohiana Vicente (I think both female but really can’t be sure) and buries them under sheets of digitally distressed noise that may well have begun life as guitar feedback and bits of oddly good sounding percussion. The end results are then all cut up into the nine stop/start shuddering pieces here that aren’t quite really what I would call songs, and don’t contain such things as choruses or melodies or even discernible patterns to the vocals, but somehow come closer to brief pop songs than anything else I have heard in a while.
So, thrashy, almost throwaway noisy music then, without much subtlety but full of fun and no small amount of energy. There is actually a nice sense of composition in here if you can hear past the screech and rattling percussion, with the juxtaposition of loud blasts beside either silence or small clinking percussion done very well in places. Whether this was the desired effect, or even if these parts were intentional is maybe open to debate, but I think that actually quite a bit of consideration may well have gone into how these pieces were built up. I may be wrong, but I don’t think there is too much here from a compositional perspective at least that could be described as accidental. So nine tracks then, some lasting just seconds, none of them that dramatically different to the others, all a bit frantic, and all a lot of raucous fun. I can’t say I really found myself listening all that much with a considered ear, rather an adrenalin fuelled feeling of energy and movement. Listening to this CD as I drove home for an hour, very tired, in the dark this evening was perfect in that it kept me awake and active all of the way. Maybe this isn’t music I will turn to often for any deep inspiration, and perhaps actually, having spent a few hours with it on loop play I may not put the disc back in the player for quite some time, but I think it is fair to say that I found Red River/Rio Tinto to be a diverting call to my senses tonight, even if perhaps only because listening took me back to those early Otomo/Eye concerts in London that proved to be such an inspiration to myself and a generation of London musician. Fun stuff then, perhaps not for the faintest of heart or the subtlest of musical tastes." ( Richard Pinnell, The Watchful Ear )

"A few seconds of field recording start the album, and this, the first track, has the most of the percussion that appears on this album. As the sun shiny noise rock stretches out over nine tracks it takes you through, cone-wise, from many to more discrete noise, in a kind of noise collage much like a blender does to a variety of ingredients, all tracks ending early, and have silence in places within (false endings throughout all tracks), the blended noise going to rumble to bumpy noise (like speed bumps), static noise to distortion, clipping to frequency noise. The key ingredient is the semi-processed vocal work. The Spanish that appears in this is extremely funny, like getting your little sister on the mic to broadcast sound emergencies (4) as if it were a godzilla approaching, and to voice imaginative opinions on what the sound is or does. Very funny stuff, and hard to translate. Later (6), some words are distinguishable, and happen to be angry criticism made in a traditional style that is partially a religious standpoint, with well regarded Spanish explicatives such as, peludo (hairy), degrassado (mf-er), and para mierda (like shit). This is common cultural humor. The voicing is in quite well done childish inflections and cartoonish kiddy language. A cushion of noise both obscures some of the word content while supplementing the inflectional content quite well (3,6), reminding me of noisy tv reception of cartoons overdubbed in Spanish like Speed Racer. One gripe is that the screaming that appears in some of the tracks takes away from the humor of this work, I wish it were left for a different release. Track five has a little of something one might term a beat, that is thankfully absent from the other tracks. Guitar work like Skullflower. Percussion crisp and clear, sounding as if done on a stairway (5), or a stairway played like a piece of percussion. eveningly infinitely wipes" ( Grizzly Adam, KFJC )

"Lastly we have a Miguel A. García three-incher, called Red River / Rio Tinto (GHOST & SON GHOST5). This snakey little gemuloid is blessed with a Nick Hoffman colour drawing of cobras on the cover, and its hot pink printing has been flaking off into the case and littering my floor for the last few months. For me it’s a welcome return to noisy spirited chaos and lava-fuelled mayhem, a Habanero chili rammed in my mouth. Its uproarious mood cancels out the polite stiffness of the preceding arty CD. It’s ironic that García credits himself with “constructing” this errant jumble of insanity, when it’s about as broken as an old china plate in 16 pieces. All the gang of buddies are here for this toxic picnic. Alba Burgos and Ohiana Vicente give us their shrill screaming voices, Raul Dominguez hammers percussion like a baby with biscuit tins, and Carlos Valverde mangles guitars sadistically. Nine tracks, most of ‘em in the two-three minute area lengthwise, and it’s like how three year-old lunatics would imagine punk rock, if allowed to get their hands on flamethrowers and sticks of dynamite for instruments. Urgent, passionate thrash-racket laced with electronic vomit, power noise, and idiotic non-riff guitar riffs. Irresistible!" ( Ed Pinsent, Sound Projector magazine, www.thesoundprojector.com )

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Noish & Xedh .
Rlhaaa to
(Pilgrim talk, 2012)
 
 

"Si je n’avais pas trop aimé le mini cdr de Miguel A. Garcia (aka Xedh) publié sur Ghost&Son, cette cassette en duo avec Noish (Oscar Martin de son vrai nom) m’a beaucoup plus convaincu. Pour rlhaaa to, le duo Noish/Xedh a composé deux pièces d’environ vingt minutes chacune. Une pièce par face, toutes deux maintenues par une cohésion et une continuité, malgré la rupture du changement de face. Ça commence par des textures abrasives où se mélangent des bruits parasites et des interférences électriques, accompagnés de quelques objets et divers sons préenregistrés, ainsi que d’une radio. L’intensité monte petit à petit, faible au départ, elle est parfois rompue par des interruptions analogiques puissantes, mais il faudra tout de même longtemps avant de sortir de l’enchevêtrement de câbles jack avec leur souffle parasitaire et de manipulations électriques sur les interférences. Mais même si ce n’est pas fort, il y a tout de même une forte tension, une ambiance presque angoissante où les bruits les plus incongrus peuvent surgir à tout moment, de manière souvent inattendue.
Comment les deux artistes sonores espagnols parviennent à sortir de ce fatras de bruits hétéroclites et parasitaires? Réponse: l’analogique bien sûr. Synthétiseur analogique à fond, trituration de bandes, la puissance de l’analogique renverse la quiétude et la méditation digitales. Les sinuosités tracées par les interférences deviennent de vrais reliefs et une nouvelle dynamique semble engagée. Une dynamique beaucoup plus puissante et forte, tout aussi fracturée et ponctuée d’évènements inattendus et hétérogènes, de manipulations et de déconstructions sonores qui forment des textures denses et des dynamiques violentes et puissantes. Deux pièces inspirées par l’eai et la musique concrète, puissantes, denses et intenses. Recommandé!" ( Julien Heraud, improv-sphere.blogspot.com )

"Tonight another cassette. (The things still seem to be arriving here relatively frequently I’m afraid). This one is a release from a bit earlier this year on the excellent, Chicago based Pilgrim Talk label. I wrote about another double cassette release on the label for The Wire this month if you have a copy to hand). This one is credited to Noish X Xedh, which would appear to be a collaboration between Oscar Martin and Miguel A. Garcia respectively. At least I think its that way around. These two musicians work with what sounds like rough, low grade electronics, perhaps with some laptoppery thrown in, but as little is explained on the tape’s inlay card to at the PT website its hard to know what to credit to whom. Compared to Garcia’s other recent release on Pilgrim Talk, which I wrote about here, this cassette, named, peculiarly, rlhaaa to is a much more refined affair. The sound palette is typical of that I am hearing quite often these days, a rough, raw sound wrenched out of simple electronics, with little sense of finesse or preciousness, the sounds more familiar to the noise music scene than improvisation’s particular history, so forging a new path for the music that falls somewhere between the two. If the two tracks here, each lasting around twenty minutes keep the volume generally at an average level, they don’t attempt to sanitise the actual sounds used at all, with the music formed out of harshly textured buzzes and yelps, bits of barely tuned radio and assorted forms of interference, some of a feedback variety, some just more generally ugly. Given that we don’t know who is doing what, its hard to follow any narrative between the two musicians, but one would guess that everything here is improvised in realtime straight to a mixer. Its hard to imagine how post production editing could really make much difference to this music, it exists as a stream of wildly flailing sounds, analogue scribbling, AM radio hiss and buzz and the kind of odd alien intrusions you hear down a mobile phone line when you are left on hold listening to supposed silence. There isn’t really much of a sense of progression or any overarching structure, rather a feeling of music that keeps folding back on itself, never staying with one sound for more than a few seconds before finding another that fits the general theme, though the connection between each consecutive element is never entirely obvious. This is hard music to sit down and concentrate on, as I might with other improvised music. Lacking aesthetic beauty in any conventional sense, but also not really involving any obvious feeling of narrative to latch onto, rlhaaa to feels as uncomfortable and awkward as its title. However as the volume is kept in check and the music is always as clear as a cassette release ever could be, it feels like the musicians are making concessions to people like me, challenging us to engage with this awkward sound world but not in the manner we are used to. Spending time with the cassette, listening to it several times over wasn’t easy, and the abrupt ending to each side does not help matters, as the music never really resolves itself in any way, and the sensation is merely of a stream of interconnected sounds that just follow a line from one place to another. The journey is a fascinating one, but once you have made it from A to B you wonder why you did so." ( Richard Pinnell, The Watchful Ear )

"The reason I hate writing about so-called “abstract” music also happens to be one of the reasons I love listening to it. It can’t be hastily described in terms of a blanket buzzy genre or reduced to a formulaic hypothetical (“sounds like if X artist and Y artist combined”) — that is, if it’s well made, which rlhaaa to very much happens to be. Described by the label as a “deconstruction of field recordings,” understood in a Derridean sense to mean an album created outside of the false dichotomy between the non-music of the “field” (“real” world) and the “music” of the deliberately produced sound. A tall order for sure, but explored here in a truly absorbing (and fun!) way regardless. Though all the sounds are electronic, the duo uses such a broad palette that even the more conventional static-flutters and bent circuits sound completely vivacious and fresh, avoiding any sort of predictable narrative for itself so that each subsequent sound is interesting in its own way. To me, the strength of this cassette lies in its cultivation of potential, that the sounds on the tape are the spillover from the potential sounds surrounding it, which continue to the horizon in all directions. Can I break my own rule and describe the packaging as Shawn Reed meets Sylvie P with a smidge of Tyfus? Either way it’s a huge compliment, with the cover here depicting either a resurrection, the apocalypse, or just a really good party, which may be the best way to describe the music as well." ( Papaya, Tiny Mix Tapes )

  -
Miguel A. García & Richard Kamerman .
Homophest 20110921
(Copy for your records, 2012)
 
 

"September 21 2011 Garcia visited Richard Kamerman in New York at the headquarters of the Homophoni label they played together. Armed, I think (this cover doesn’t say anything at besides artists, title and label name), contact microphones, no-input mixers and a variety of objects, the two create something that is obviously improvised, but it sounds pretty organized. Long sustaining tones swell and disappear, gaps of seemingly silence, bits of scratching the surface, building up again into bass heavy sustaining tones. This they do about three times. Especially between the second and third part there is quite a gap of that sheer silence and random scatter of objects, but it holds the tension pretty well, I think. You assume it will burst again, and it does, but when? That is a fine power they have here and at just over thirty minutes it has absolutely the right length. Fine work." ( Frans de Waard, www.vitalweekly.net )

"Julie and I went to the seaside today, pretty much on a whim, as we had the day to ourselves at relatively short notice. We had a good time, as we inevitably do. The British seaside town, in the cold of January, mostly closed down, is a wonderful place. We had a great, if a bit silly day. Sometimes acting like big kids is what you need when you’ve had a tough few weeks, and we acted like overgrown children more than once today. Good times were had, and we got home in time for me to spend some solid listening time with a CDr on the Copy for your Records label. The disc is another in the label’s handmade, apparently very limited edition series of live recordings. This one, titled Homophest 20110921 contains a duo recording of CFYR’s Richard Kamerman (mechanical parts and found objects) and the Spanish musician Miguel Garcia (electronics). As the title suggests, the Cdr contains a live recording of their set from the Homophoni website’s Homophest showcase that took place in New York last September. The recording here is nicely done, perhaps with just a single mic in the room, that picks up bits and pieces of other external sounds, but crucially gives quite a good feeling of how it may have felt to have been in the room at the time. The piece opens with large expanses of silence, punctuated by distant outside voices, maybe some footsteps and eventually the rattle and clatter of Kamerman’s motorised bits and pieces. For quite a while we hear very little, and a very tense silence holds sway over the room. The small additions from Kamerman, and then soon after, using raw, sometimes undulating electronic tones, the contributions from Garcia very gradually begin to expand, flicking on and off between periods of activity and silence. Garcia’s polluted white noise, resembling a jet engine in need of a good retuning builds to a state that it obliterates everything else, only to suddenly cut off at around the sixteen minute mark, just for a few seconds, into which someone (Garcia? an audience member?) inserts a single vocal whoop of the kind that usually (quite annoyingly) follows the louder sections of the harsh noise performances I have witnessed in the past. I could easily do without the whoop here really, as the drop into silence seems far more interesting than someone’s response to the rush of noise, but as this is a live recording this inclusion adds something very simple and present to the music, reminding us very clearly that this is a capture of a live event, and there are people involved- sounds do not move themselves around into nice structures on their own. Garcia’s roar returns after a few seconds and stays about again for another minute or so before again cutting dead, this time leaving the awkward percussive rattling of Kamerman’s toys to occupy the space alone. This peel back and reveal technique, as old hat as it may be works very well for me, and signals in a long period of once again very quiet music as Garcia remains silent, and Kamerman lets just the slightest of mechanical clinks and taps to appear for quite some time. Things slowly develop again, though never to the same extremes of density until the dying minute of the set, when after a very nice period of interplay the heavy roar closes out the performance for twenty seconds or so. Then we are treated to another couple of yelps, exclamations and odd laughter from a somewhat annoying deep American accented voice (sorry if its someone I know) and about half a dozen people clap. Presumably the audience numbers weren’t that high, but that’s a shame as the performance was probably very good to witness in the room. On CD there is a sense of heavy intensity and atmosphere present, inevitably a reflection of what was felt in the concert space. Its an engaging listen, managing, both through the character of the recording and through the additional vocal contributions to transport the listener to what we might consider the room in which the gig was played to be like, so putting a visual picture of the muss canto my head as well as an aural one, which is quite an unusual thing for music to do for me, assuming I wasn’t there for the recording of course. A nice piece of work then, somewhat uncategoriseable and, in its own way, thoroughly charming." ( Richard Pinnell, The Watchful Ear )

"Here’s one he made with Richard Kamerman, released on the latter’s NYC label. Homophest 20110921 (COPY FOR YOUR RECORDS CFYRL04) I take to be a document of some live event or other. After the previous three scorchers, this 31-minute dose of electronic sandpapering can seem comparatively restrained, but ye must persevere to be rewarded with extremely sullen and bad-tempered murmuring, as unvarying pitches of solid tuneless drones invade your personal space like a scowling man with a heavy, Frankenstinian brow. To make the experience even more insufferable, the duo keep stopping and starting what they’re doing, allowing the noisier aspects to drop out suddenly and leaving you face to face with an inexplicable, mysterious rattling. It’s the aural equivalent of watching your favourite appliances (TV set, fridge, washing machine) start to conk out and die, as you despairingly search for the number of a repairman and then realise nobody does call-out repairs any more. A fine set of contemporary minimo-noise art." ( Ed Pinsent, Sound Projector magazine, www.thesoundprojector.com )

  -
Xedh & Carlos Suarez .
Cuculacanto
(Essentia Mundi, 2012)
 
  "Miguel A. Garcia sometimes works under his own name and sometimes as Xedh, and I am never sure when one comes into play and when the other. Maybe there is no separation? Here he works with one Carlos Suarez, of whom I think I never heard. He is from Galicia in Spain and works inside the field of electro-acoustic music. If I am well informed the pieces here were recorded through live improvisation in the studio which was then edited by Garcia. Garcia is at his best, at least for me, when he too works with electro-acoustic music, and stays away from overtly noise based excursions which he sometimes also does. Here he does stay away and together with Suarez he created five excellent pieces of electro-acoustic music which suggest lots of space between the cracks, sometimes artificially enhanced by the use of reverb. There is computer processing, analogue knob turning, field recordings of water and metallic rumble, looped and toyed around with. The overall mood of the pieces is more ambient and atmospheric than is perhaps usually the case with this kind of electro-acoustic sounds. More ambient than microsound I would say. Garcia has reconstructed the live recordings accordingly and without losing the aspect of a live recording, these five pieces are very good, well done and reshaped into the form of compositions, with heads and tails and fine structure. This is the Garcia I like and this CD is a fine addition to his rapidly expanding discography." ( Frans de Waard, www.vitalweekly.net )
  -
Xedh / Imbernon .
Anekkyy
(Trait Media, 2011)
 
 

"La ambiciosa asociación de la guitarra, pedales y efectos de Jon Imbernon y el mezclador y los osciladores de Xedh (Miguel A. García) resulta de gran interés tanto en sus aspectos sonoros como formales. El disco colaborativo “Anekkyy” posee deslumbrantes segmentos instrumentales de Imbernon circulando en paralelo a un exquisito tratamiento – el de Xedh - que nos recuerda que aquello de “buscar el máximo efecto en los mínimos elementos” puede llegar a ser exuberante. En efecto, y pese a tratarse de un álbum reacio a cualquier tipo de clasificación, la entrega de estos dos músicos vascos posee un aspecto solemne (fruto de la depuración) que sin embargo nos permite atisbar una cualidad enérgica. O dicho de otro modo, “Anekkyy” logra hipnotizar justamente por haber cuadrado pretensiones y resultados en su aparente simplicidad.
Es arriesgado y tan poderoso como el trueno, esquiva a tiempo la aceleración exaltada en beneficio de una escuálida sencillez y destila un aroma tan evocador como nebuloso." ( Alberto Flores, Ursonate fanzine )

"On Anekkyy (TRAIT MEDIA WORKS TMW029) he does it with Jon Imbemon, equipped with his guitar and effects pedal. This is just a single 50-minute track, hopefully done live in one take at a studio where the engineers chose suicide by hanging with a flex rather than endure another minute of this grim musical cacophono-fest. Ferocious, abrasive and poisonous sheets of noise just pour out of this deadly duo’s fingertips like death rays emanate from the gun of a hostile alien. Matter of fact I suspect Xedh could cause instant concussion to the skull just by pointing one finger at his chosen enemy. As noise explosions go, this Anekkyy is a deliberative and controlled assault on the senses, and I love the way it proceeds at a remorselessly measured pace, mowing down acres of goldenrods with the awesome certainty of the Grim Reaper himself. The duo leave plenty of space for each other, allowing heavy and angular blocks of sound to protrude from the mossbed of hissing fuzz as needed, creating fascinating abstract shapes of black monumentality. Another chompworthy cake, and released on the label associated with the great Eric Lunde." ( Ed Pinsent, Sound Projector magazine, www.thesoundprojector.com )

"Perhaps more of a surprise is the release by Miguel A. Garcia, also known as Xedh and Jon Imbernon (member of Ximel and Ura), who are from a different generation than Lunde. Xedh plays no-input mixer and oscillators and Imbernon guitar and effects pedal. As I don’t know Imbernon at all, I can only comment on Garcia’s career, from rhythmic music to noise to microsound and now, with this collaboration, he returns to the world of noise. This is all pretty violent music: loud and distorted, save for a few bits where they hold back a bit. Its however the kind of noise I think is pretty interesting. Not just the harsh wall of noise type of thing, but a work of improvised noise, in constant move and change, loud as hell, but with enough variation to hold one’s attention throughout. Even when this is not something I would play everyday, I thought it was quite a nice release indeed." ( Frans de Waard, www.vitalweekly.net )

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Lali Barriere, Miguel A. García, Tomas Gris .
Chamber Music
(Pan y rosas discos, 2011)
 
 

"Primera grabación de Miguel A. García a petición del sello de Keith Helt, Pan y Rosas, (sin contar con la edición de Cooloola Monster) y disponible para descargar libremente desde la web del netlabel. Acompañando el no-input de Miguel, la catalana Lali Barriere, quien se presentó con diversos elementos de micropercusión (como canicas), y micrófonos de contacto y el madrileño Tomás Gris, con su ya mítica bandeja que tiene globos, muelles y otros objetos, hacen honor a su fama de outsiders, para formar un trío sólido en forma y resultado. Esta “música de cámara” fue registrada en un concierto íntimo que tuvo lugar en lo que fue Arphouse (el hogar de Tomás) ante un público muy reducido. Pasando por la edición posterior de Miguel, lo que fue aquel concierto se convierte ahora en una pista de unos 20 minutos de duración. Es muy interesante cómo trabajan los tres músicos en esta grabación, ya que ninguno de ellos utiliza instrumentos tradicionales, pero tampoco generan sonidos por ordenador. Se encuentran en una tierra de objetos encontrados, reutilizados y amplificados como si de una sesión futurista de Los Angeles Free Music Society se tratara. Futurista por el resultado. El paisaje aquí descrito a partir de la improvisación libre nos traslada a un terreno áspero, frío y violento que bien recuerda a esas realidades distópicas del cyberpunk, o sin irnos tan lejos, al colapso industrial contemporáneo. Conforme avanza la pieza, el sonido se va llenando de color, siempre de una manera agresiva formando un abstracto y errante in crescendo. Los sonidos que al principio parecían bloques de cemento, ahora cobran vida de una manera monstruosa, explotando en chirridos de lo que parecen quejidos de animales. Todo ello termina desapareciendo poco después, devolviéndonos al punto de inicio. Atractiva narración, en definitiva, sea lo que sea que se esté contando aquí." ( Miguel Angel de Blas, Fungus Cerebri )

"Escuchar Chamber music ha sido una experiencia, ante todo, extraña, y os cuento por qué. El verano pasado asistí en Berlín a la presentación del trabajo de dos músicos chinos en un espacio gestionado por japoneses (jaleo oriental). Improvisaban con instrumentos fabricados por ellos mismos, me parecieron amasijos de sensores (artefactos, músicos -el cuerpo humano como conglomerado de sensores- y su creativa combinación), y lo hacían visionando al mismo tiempo unas imágenes muy viejas sobre la tortura china. Estas imágenes, y la escena en su conjunto, eran realmente impactantes. Pues bien, el trabajo de Lali Barrière, Miguel A. García y Tomás Gris me ha recordado al de esta pareja de artistas chinos. No sé por qué, pero esto es lo que me ha sucedido. En todo caso, no tiene nada que ver con la tortura, el martirio o el tormento: escuchar Chamber music ha sido grato. La memoria es misteriosa, sorprendente: conecta procesos alejados en el tiempo y el espacio; enlaza sensaciones con orígenes dispares; acopla texturas desemejantes. La improvisación de estos tres músicos, sobre todo a partir del minuto cuatro, crea una cálida y refinada atmósfera de intimidad, seguramente -aventuro- porque está naciendo una auténtica comunicación entre ellos y el proceso se está dando en el espacio de una pequeña habitación (Arphouse, chamber). Hacia el minuto catorce, la pieza, además de conservar aún ese punto de intimidad que comento, gana en intensidad, en emoción, en complejidad. La energía se acumula de una manera palpable, y uno podría incluso arriesgarse a anticipar un final explosivo. Aunque se equivocaría, como sucede con casi todo aquello que se crea a golpe de intuición, sobre la marcha, ajeno a lógicas cartesianas. Cuando escuchamos a alguien, inconscientemente, ponemos nuestra mente en el mismo lugar que la mente de quien habla. Entonces ambas mentes convergen. Esa es la esencia de la comunicación. Y aquí llegamos a la magia del acto creativo y comunicador: seis mentes concurren gracias a dos procesos improvisatorios no simultáneos, las de los dos artistas chinos, las de Barrière, García y Gris, y la mía. Así es como el ejercicio sonoro de la libertad se funde, en un pispás, la materia en que consiste la propia música: el tiempo. Así es como Chamber music nos hace tomar conciencia de nuestra incapacidad para aprehenderlo todo: «Sólo tenemos una parte mínima del código.» Yo sólo os cuento lo que me ocurrió, por si quisierais probar suerte. Alguien dijo: «El mundo es oscuro», y creo que no se equivocaba… –" ( Tom Lafont, Ursonate fanzine )

  -
Miguel A. García .
Live at El Tanque Gallery, Santa Cruz de Tenerife, 2007
(Ronf Records, 2009)
 
 

"Of much more interest is the 3"CDR by Miguel A. Garcia, who came down (up?) from noise and plays something more interesting these days. Although this being on RONF, known for some of its more harsher and brutal sounds, this is quite an interesting deep work. The gallery is located in an old water storage tank, with a large amount of reverb. Garcia plays some dark sounds into them, but its sparsely orchestrated. He shoots as it were these sounds into the space and waits until they died out, before reloading his sonic gun. Over the course of twenty minutes it grows a bit more intense, but throughout it stays on the sparse side. No noise was harmed in making of this work. An excellent work of one of the more promising new faces on the microsound scene." ( Frans de Waard, www.vitalweekly.net )

"Performed live in a converted water tank, this sees our plucky Spanish minimalist placing microphones at strategic points around his metallic environment and allowing the dying echoes of small and inert sounds to reverberate in a highly atmospheric fashion. Starting off slow and moody, the piece really kicks itself into the expected areas of awe and hideosity through the second half. While this may be a fairly familiar process-art approach, Miguel’s recording is of interest because of (a) the very “deformed” nature of the sounds that emerged in the first place, (b) the unusual acoustic conditions of the space and (c) the fact that the document itself is considered to be somewhat flawed, a semi-bootleg that only conveys a small percentage of what it was like to be there feeling the walls of that wobbling metal cannister throw back its ugly sound-shapes into your tender ears. Add it up, and you’ll find
that a+b+c makes for a pretty winning result. " ( Ed Pinsent, Sound Projector magazine, www.thesoundprojector.com )

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Xedh .
Vinduskarm
( Triple Bath, 2009 )
 
 

“Another release by Miguel A. Garcia, also known as Xedh, whose work is getting better all the time. Starting out with industrial music, heavy beats and noise, these days its a very interesting mix of microsound and on this album modern classical music. 'Vinduskarm' was recorded in 2006 already, and he uses to some extent classical instruments, which he puts on his computer together into some highly interesting music. This release has three pieces, of which the second and third are in three parts. In the
last part Xedh uses brass and strings to create an intense and beautiful piece of modern classical music. In the second piece it seems that field recordings play the all important role, and the instruments are absent. In the first piece, in one part only, the balance between instruments, electronics and field recordings seems to be the same. Xedh adds electronics and field recordings to the total spectrum of sounds. His recent CD release was good, but this is even better. Well balanced, owing to microsound, but
the combination with real instruments works great. Perhaps a great pity that this is only released as a limited CDR and not as a real CD, but then we should be glad we can hear this after all. ." ( Frans de Waard, www.vitalweekly.net )

"Xedh is one of the names under which Miguel A. García presents his music. Since 2004 he released some 30 titles so the description on discogs.com ("one of the most active emergent figures in the scene of experimental music and sound art from the Basque Country") seems to fit quite well. The nice thing of him - and many other artists with him - is that he doesn’t limit himself to one label, so there is no need for him to limit himself to one particular sound or experimental process. Which, at the same time, enables the high output again. Verato Project, TIBProd, Zeromoon, Slaughter Productions and now Triple Bath, to name but a few, have released CD-R’s, downloads and cassettes by him. So get on the net and get aquatinted with his sounds. But, as this is only the first thing I personally hear from him, I haven’t got any reference material. Though I also don’t really need it - he Greek Triple Bath label surprised me in the past already with a few nice releases and Themis has an ear for worthy newcomers in the drone/ambient/soundscape scene. And well, "Xedh" is no exception. Three themes on "Vinduskarm" are divided into seven tracks, and as a whole they form a nicely composed soundscape ranging from the watery sound of children’s toys to somewhat more harsh sounding noise. At no moment it gets dull or boring. Here and there it would well fit the soundtrack of a movie, so perhaps we should file this one under ’cinematic isolationism’? It does clarify why García’s work is also used for movies and sound installations. An artist the Basque Country can and should be proud of, end of discussion." ( Bauke, www.connexionbizarre.net )

"The only unknown name for me in these Triple Bath new releases seems to be also the most interesting one. This time again the musician from the land of Basques, his real name is Miguel Garcia. Some years ago, his music was dicovered by Zan Hoffman, the old but still active networker. In Xedh’s music you can find a number of influences - Rafael Flores, Asmus Tietchens etc. But his music is really multifaceting, even the tracks inside of particular album are very different. For instance, the piece that gave title to the album is quite minimal, even static consequence of patterns, but all of them are dark and dehumanized. The next track "A Bad Lesson In Brueckner" is like a carpet made of field recordings which deliver you to the electronic sounds interplay, diffused into a post-impressionistic collage of ambient structures. In the second half of the album, the pieces are shifting to chamber music in avant-garde fashion. There are some wind and string instruments, playing some goofy but intense passages with always hiding harmonies. Naturally, this ensemble is just a virtual construct, Miguel uses just the samples. And after some time, you can see the shapes of those instruments are turning into something not recognizable, the music becomes more quiet and abstract. But in the last track (aptly subtitled "Last Piece"), we can hear the loud and loose drumming sounds that are good for esoteric rituals, like from the grave. The album is really short (40 minutes) but impressive and makes people think they should ask questions, like after every serious work of art." ( Dmitry Vasilyev. IEM )

"I knew he had it in him somewhere. I’ve reviewed four (solo) pieces by Miguel A. Garcia in WWR over the last couple of years and whilst they’ve all been, at the very least, listenable there’s always been a little niggle or two that has kept me from giving them an all out enthusiastic rave. Well, he’s certainly dispelled any doubts I may have had with this fabulous release. The last piece I reviewed by him (his live EP under his given name, go check the archives if you’re curious) was a delightful, microtonal, minimalist abstraction that was absorbing in it’s sparsity but equally way too short to be fully satisfying. Vinduskarm on the other hand is a leisurely showcase of Garcia’s compositional skills as he lays and overlays a plethora of sounds and textures to sumptuous effect. Even during its more raucous moments (which are rare as the album is generally a fairly sedate affair) it is never rushed or excessive. Garcia’s control is absolute and he manages every aspect of the sound with consummate skill. It’s very much deserving of your time. " ( Ian Holloway, Wonderful Wooden Reasons )

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Miguel A. García .
Armiarmak
( RMO, 2008 )
 
 

"Basque musician Miguel A. García has chosen the risky path of skeletal, self-generated sounds: a feedback mixer, a couple of microphones capturing the performer's gestures, and a sine oscillator. Over the years, the improv recordings based on no-input gear have varied from exhilarating to utterly disposable, and after listening I can easily put García high in the first group. With recordings like this, suggestion is everything, and "Armiarmak" luckily creates some fertile emotional short-circuit with the
listener. The frequencies in the opening "Suge arrosa", for example, eventually structure themselves in grating loops, reminding of string plucking, then the composition boils down to a static unrest, with sparse fog-horn wails. "Acuphenos" is melting ice and mist, rich in bubbling, muddy basses. "Eve" accumulates electrics shocks in a bruitist crescendo, leading to the glorious "side b" of the cd (yep, there's a flipside, apparently), featuring the painfully high frequencies of the title track, and the heap of audio debris, hisses and feedback of "Suge gorria". When, in the final "Itapoa (for Rafael Flores)", the sampled guitar of former Comando Bruno adds a more recognizable musical quality, it has an almost surrealistic effect, lost as it is in García's swarm of electronics." ( Eugenio Maggi, www.chaindlk.com )

“Record of the week. The last several days, busy as they’ve been with work and home-related duties, I’ve enjoyed multiple opportunities for quality, undisturbed listening. While such a luxury comes only in phases, it’s even rarer that I can put a tentative playlist together that will truly play itself out. But playlists can quickly grow stale. I imagine I’m not alone, in that it often happens I’m halfway through a disc or a run of them, only to abandon it for something more faithful, music that has proven to serve all
moods or is likely to shield itself from any unanticipated distractions. That said, I must’ve listened to armiarmak ten times last week. I don’t know that Miguel A. García, aka Xedh, is much known outside his own circles in Basque Country and larger Spain — though he once was invited to perform in DC’s Sonic Circuits Festival — and it gives me cause to consider the migratory nature of some experimental music practitioners; why some spend as much time bonding with individuals from varied regions as they do
composing, while others do not or can not. But that’s roots for another discussion. García’s short list of releases dates back to just 2007, the majority featured on free netlabels. This, his first “proper” hardcopy release comes on RMO (Basque), a label with which I’m only recently familiar. Having heard — and having been intrigued by — “Armiarma,” which can be heard HERE on Homphoni, it’s gratifying to learn that the single solid 14-minute track was a mere opening into something larger, an expanded
theme complete with teeth, daydreams, and shortness of breath. That’s how I hear armiarmak, as something living within a generative, searching effort bound by the electronic confines of a single disc. García’s imagination is clearly conscious of the value in the self-imposition of limits. A sizable array of tools was used to create the music/sounds, and it’s interesting when listening to consider the discipline that went into some of it. “Itapoa” has, to my ears, four to five source tracks, each having been shaved of some of it’s fidelity. This results in something far more minimalist than the preceding tracks, themselves containing the fleeting sparseness of an Onkyo standard(!). The disc notes García’s “instrumentation”: microphones, mixers, and sine waves; additional bits of outside material are tools in the chest on three of the tracks. I’m not reminded of any one particular artist when listening to the disc, however, certain passages ring of the chance atmospherics in the recordings of Werner Dafeldecker or
Burkhard Beins, while another suggests Fennesz arriving at a performance venue only to find a single AC outlet to his disposal. But let’s not spend further energy in comparison exercises. Those interested are advised to start with the Homophoni track (linked above), which can also be heard on the disc. The fix complete, I’m now happily buried in more of the unheard, and within that pile it would be nice to find another faithful selection. I’d be interested to learn of others lurking in the Basque region.” ( Alan Jones, www.bagatellen.com )

"After a long strings of MP3 and CDR releases, which showed a constant improving of his playing, Miguel A. Garcia made the big step and now releases his first real CD. He worked first as Xedh, but also as several projects I never heard of such as Baba Llaga and Valvula Antirretorno. Here he uses strictly 'a mixer with a pair of microphones, which register its 'human activity' and the sine waves extracted from a simple oscillator'. That might be hard to believe I think. One thing that can be noted here is that the conversion to entirely being microsound didn't happen, and that's a great thing. Garcia started out in the more noise end of the musical spectrum, and then slowly worked his way towards microsound. Here on 'Armiarmak' he seems to be interested in melting the two opposites together, and he succeeds rather well. Despite the fact that this album has many 'soft' spots where the music drops in volume quite a bit, there are also many instances were the sound gets quite loud. Garcia seems to be introducing here also the element of improvisation (perhaps already present before, but now more clearer), and his electro-acoustic music,
spiced with lots of processed sine waves (making them very high or very low end), gives us some highly refined pieces of micro- and macrosound. Its probably a great step for Garcia to go to real CDs but this first one is surely also a great step for him as a composer." ( Frans de Waard, www.vitalweekly.net )

“Miguel A.GARCIA est un des principaux activistes de la scène underground de Bilbao, apparu dans le sillage du festival MEM à la suite du terroriste sonore Mattin. Jeune espagnol nourrit à la musique industrielle et aux sinewaves de la new improvisation, il organise des soirées clandestines dans différents lofts de la ville industrielle basque. Soirées mêlant rock, musique industrielle, new improvisation, nowave recyclée … ne prêtant aucune attention aux genres, voulant seulement la musique comme débordement. L'économie de la musique est dans un tel état de désastre, qu'il reste à inventer des alternatives, à reconstruire des réseaux, connecter ses acteurs autrement que par Internet, l'organisation de concerts comme acte politique. L'improvisation est pour Miguel GARCIA cette tentative de rendre les musiciens acteurs d'un projet collectif, d'une économie souterraine qui se joue dans les marges de la cité et se partage. Activiste mais surtout musicien, il avance des propositions sonores comme d'autres des mots d'ordre politiques. "Armiarmak" est un disque construit avec circuits intégrés, table de mixae, micros-contact et sine-waves, disque qui s'inscrit dans une longue histoire : celle de l'improvisation et de l'électro-acoustique, dans cette mémoire à dépasser, avec cette culture à partir de laquelle il faut se construire. Comment s'en débarrasser pour ne pas être immobilisé par elle sans la noyer dans le bruit blanc, son angoisse ? Effacer les phrases et les gestes par le chant des instruments tournant solitaires, Duchamp en ombre portée. Tentative de faire sortir le "bruit" de son enveloppe étouffante, de dessiner des paysages imaginaires fait de clicks & cuts, de buzz et de craquements."Armiarmak" est un disque fragile comme tous ceux de cette jeune génération "trop cultivée", ils doivent oublier cette culture pour se trouver, casser leur outil informatique pour le reconstruire autrement. GARCIA rejoint le club de ces bad boys des musiques électroniques à l'instar des Jean-Philippe Gross,
Arnaud Rivière, Alexandre Bellenger … À suivre …” ( Michel Henritzi, Revue&Corrigée )

"Miguel A. García teje como las arañas (armiarmak, en euskara) un complejo entramado de sonidos, referencias, tiempos y narraciones. […] El disco me produce reflexiones sobre lo que sería por un lado lo emocional, cálido y accesible en la música, y por otro lado lo que seria más frío, seco, abstruso, exigente para el público y un poco más neutro (consciente de la imposibilidad de la completa neutralidad). Llamemos a lo primero lo dulce, y lo frío a lo segundo. Precisando un poco más, llamo dulce a las melodías, a las sugerencias de grandes e impresionantes espacios que nos llevan a dimensiones narrativas, a lo espectacular y a los efectismos, a las bolas de frecuencias graves que hacen que nos vibren las tripas, a las partes violentas muy distorsionadas… Creo que es precisamente en esta dicotomía dulce/frío donde se encuentra este trabajo de Miguel Ángel. Sabe trabajar con lo poco emocional, y en las primeras escuchas lamenté el que no fuera así todo el disco. Las partes más cálidas
las veía como los puntos por los que cojeaba el trabajo, y en cambio, después de unas cuantas escuchas, me pareció que son precisamente esos mismos puntos los que completan el trabajo y lo salvan de ser algo demasiado impenetrable. En una comparación con otra disciplina artística como la pintura, El cuadrado negro sobre blanco o El cuadrado blanco sobre blanco de Malevich, vistos en libros de historia, serían un buen ejemplo de lo distante, desafectado y lo casi neutro. Pero es al verlas en directo cuando apreciamos el dulce: El rastro de la pincelada y la plasticidad de la pintura aportan el punto sensual, y eso es que salva a estas obras de ser impenetrables o fríos en exceso. Y ya comparando una disciplina que trabaja con imagen con una que trabaja con sonido, me atreveré a afirmar que el sonido juega con ventaja en cuanto a la capacidad penetrante. Claro que las imágenes pueden sugerir mucho y afectar, pero la música posee una gran facilidad para colársenos por no sabemos
dónde y emocionar con muy pocos y muy simples elementos (dos notas o un harmónico pueden bastar). Tantas escenas de cine que nos han hecho llorar a miles de espectadores, ¿hubieran conseguido todas el mismo efecto sin banda sonora? Se puede hablar hasta de poder manipulador, y precisamente en el cine la música ha sido muchas veces el recurso para evidenciar el carácter de cada escena y dirigir las sensaciones del espectador. Y el dirigir contradice la noción de que el espectador completa la obra. En vez de dejar que el receptor de alguna forma analice, se le embriaga con harmónicos y se le impresiona
con efectismos. Aquí estoy hablando, claro, de aquello que hemos llamado dulce. Armiarmak me lleva a pensar que quien maneja sonidos debe tener cuidado con esta capacidad de penetración. No debe caer en el uso excesivo de lo dulce con el fin de no atentar contra el oyente y utilizar además un recurso demasiado fácil para la creación. Y tampoco debe prescindir totalmente de ello, para que el resultado no sea impenetrable, y para no desaprovechar una cualidad de la música. [...]" ( Oier Iruretagoiena, Audiolab blog, www.arteleku.net/4.1/blog/audiolab )

“Miguel A. García es un nombre pujante en la música experimental del País Vasco. Afincado en Vitoria, Miguel propone un trabajo cuya lectura resulta siempre estimulante y cuyas críticas, apoyos y colaboraciones han sido siempre numerosos y de calidad, participando en festivales y museos de todo el mundo. La propuesta de Miguel se centra en el micro-industrial experimental, basado en grabaciones de campo y en el trabajo de estudio, con una mezcladora-trituradora, en la que los elementos sonoros son modificados hasta ralentizarlos o distorsionarlos hasta determinarles una nueva entidad, en base siempre
al propósito de focalizar una experiencia nueva y emocional. Los sonidos electrónicos, chirridos, pitidos, campos de fuerza, etc, son los reales protagonistas del trabajo, así, la música de “Armiarmak”, que en euskera significa “araña”, fluye entre dos polos, uno más reflexivo y ambiental, y otro más ruidista y estridente, tejiendo una tela de araña de claroscuros, de blancos y negros en contraste, donde la desnudez de los elementos y hasta el silencio juegan un papel determinante. La emoción está muy
presente en el disco, y hasta en un tema se incorporan elementos musicales, como en el último tema,“Itapoa”, aunque por supuesto, manipulados hasta perder su esencia original. “Armiarmak” juega siempre a dos bandas, pues es tan relajante como perturbador, resultando en esa dialéctica la esencia de un trabajo eminentemente experimental, muy interesante, y que abre una ventana a la pequeña escena del País Vasco en lo que se refiere a música experimental electrónica y a la que visto lo visto hay
que seguir más de cerca.” ( A. Monreal, La Defunción magazine, www.ladefuncion.com )

“Miguel A. Garcia has apparently been active on the sound art/ installation scene for quite some time, only recently making the transition to recorded media on small netlabels such as Homophoni, Zeromoon, and Trans>parent Radiation in the States..a popular stamping ground for new and well established experimental artists. Armiarmak, Garcia’s debut in CD format is an exploratory work, taking as its point of departure, a trajectory that transcends conventional physical instrumentation, and uses the studio mixer and two stereo microphones as the sole source of sound. So what emerges here are essentially feedback transitions, that Garcia manipulates in real time, in order to engender a field of tones, and subtle gradations of sound, sourced entirely from the studio. Having carried out these kinds of experiments myself, I can verify that this can be a fun, and oftentimes excruciating experience, as feedback is notoriously difficult to harness and bring into any kind of tangible form. I likened the process to wrestling with a wild animal, as attempting to cage feedback in the “sweet spot” hovering between equilibrium and chaos is a bit of a trial, that requires both patience and skill. Here though, Garcia brings all of the wildest components under control with apparent ease to activate a sonic sensorium that bristles with an electric charge, teetering on the brink of chaos, yet hovering in that sweet zone, that is both interesting and full of tension. For Garcia, this sweet spot is a zone of ultra minimalist fragments, crackles and splinters of sound – soft scrapings and grazings, as the equipment, brought under his control, yields glistening treasures that flicker and flutter and finally evaporate into silence. Occasionally, as on “eve”, Garcia allows the feedback to gather momentum, as he relinquishes his controlling hand momentarily, but this is then brought back into equilibrium to maintain the focus and restraint of the rest of the collection. If I sound enthused, then you would be absolutely correct, as a
few years back, this kind of methodology was quite prolific on the experimental circuit – Garcia’s forte, is in not letting the equipment govern the final outcome, and rather than spiralling off into the noise and chaos typified by a feedback system, effortlessly produces a sublime and fascinating collection of minimalist electronics. Very highly recommended. “ ( Baz Nichols, White Line magazine, http://whiteline1.wordpress.com )

"Further subdued electronic murmurings of a quite different hue on Armiarmak, by the young Basque composer Miguel A. García. He produced it using nothing but a mixing desk and an oscillator for the most part, but whereas many dabblers using similar tools emerge with something clean, somnolent and insipid, García’s minimalist work has a gritty, vaguely ugly texture which appeals to me, along with its unblinkingly stern countenance throughout. To listen is like staring into the stony visage of your own
executioner." ( Ed Pinsent, Sound Projector magazine, www.thesoundprojector.com )

"Miguel a. garcía nos rodea en este tema de impulsos electricos y de texturas desnudas haciendo visible de manera excepcional el esqueleto electrónico de la pieza. Sin duda es una de las figuras mas relevantes del panorama electronico español." ( Jordi Giraldez, Sismografo radio broadcast, about the piece "Suge arrosa" www.rtve.es/radio/20080818/sismografo/139033.shtml )

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Xedh .
Exadh
( Zeromoon, 2008 )
 
  "Miguel A. García is one of the few artists working in the laptop domain that manages to go beyond the sterile audio terrain that many practioners of digital music tend to get lost in and never find a way out. Xedh exploits the pristine frequencies and extreme sonic range...and still ensures that his music has some muscle and perhaps a bit of humor." ( Jeff Surak, www.zeromoon.com )
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Miguel A. García .
Subsuelos
( Trans>parent radiation, 2008 )
 
  “Spanish sound artist Miguel Angel Garcia, also known as Xedh, recorded Subsuelos during a number of “intense nocturnal sessions taken inside a 200 meter squared abandoned pavilion, with the initial intention of making an exploration of this sound-space”. The results have been issued on MP3 and FLAC files by this very label in May 2008; this is the “physical” version of the album. Garcia utilized sounds exclusively coming from within the large room, adding a series of typically suggestive, if unsettling
electronic tones which he proceeded to recapture via the same microphones. At the beginning of the CD– a minute and a half of scarcely perceptible presences welcoming the listener - one would be justified in thinking about yet another specimen of environmental examination in a vain attempt to give a musical voice to the menacing quietness of the night. Instead we’re in for a chain of events that surprise us quite often, abruptly shifting the focus of the piece over various sonic settings – some of them extremely beautiful, others less uplifting but stimulating nonetheless – which contribute to place the music in close proximity to acousmatic sharpness rather than cause an obvious “installation association”. The malleability of the materials processed by Garcia is evident and superbly exploited throughout, unfathomable halos, echoes of forlornness and devastating excrescences succeeding in consecutive scenes amidst traces of loaded stillness. Although there’s nothing exactly innovative in this kind of
notion I didn’t manage to locate stereotypes, frequently discarding the rational approach to simply put my perceptiveness in abandon mode for a sheer enjoyment of the states of trance that several episodes generate, with a particular mention for the breathtaking throbbing that certain subsonic emissions produce and the reiterative reverberations at the opening of the final track “Ipurtargik”, a magnificently remote resonance that defies any tentative description. A commendable work from a composer whose
maturity will hopefully bring additional juicy fruits, Subsuelos comes in a 50-copy ultra-limited edition. It should be attentively considered when appraising the next future of nowadays’ ambience-based electroacoustic perspicuity.” ( Massimo Ricci, Touching Extremes Magazine, braindeadeternity.blogspot.com )
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Miguel A. García .
Armiarma
( Homophoni, 2007 )
 
  "I'd be because this "armiarma" is an invitation for meeting some of that textures Lynch proposes to us, or just because xedh doesn't go so far from the flowing of the american. xedh, as the said one, watches, listens closely, and what is better, invites us to listen closely, to observe the sound edges of the "spider" wich leads the album. At this point, also it'd be the "spider" wouldn't be "armiarma", or by listening to it so closely it'd stop being "spider", the same as the coffe cup stops being itself by watching it very closely. In that case, it'd be right the one who claims the beauty in the rotten body. And maybe this would be the rottest xedh's work up today. But it is the most beautiful." ( Xabier Erkizia www.ertza.net/eng/artistak/erkizia.html )
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Xedh .
Composition in red
( Camomille, 2007 )
 
 

"Conceived by Miguel A. García as a vision of industrial past and future landscapes, the music distilled by Xedh is a music of immersion, inscribed in a broad and evocative current that makes textures and their alternation an excellent narrative element. A music of planes where silence envelops perverse rhythms and opens gaps through which oppressive atmospheres slip in - pulsing music, inviting us on an inner journey, full of images and colours, of a strangely pictorial quality." ( Victor Nubla, www.hronir.org )

"Xedh confirms by planting an enormous (rusted) nail in the allegedly apocalyptic landscape of the modern industry of sounds assembly. Heir of a certain oldschool tradition (and not least) , the man of Bilbao dismantles some musical commonplaces for better building a singular work which takes all his actual relevance - There is this amplitude, the density of a formal, un-narrative suggestion of reality filtered through the abstractive prism of Xedh composition, and these constant calls to break up, if you
definitively refuse to look beyond." ( Thierry Massard, massard.blogspot.com )