released November 17, 2024
This new release in the co-release series by labels attenuation circuit and Grubenwehr Freiburg with 7-inch covers presents a drone album by Alfredo Costa Monteiro in artwork by Robert Kerber. The surreal juxtaposition of elements in Kerber's collage seems to visualise the atmosphere of dislocation and uncertainty evoked by Costa Monteiro's sounds.
Alfredo Costa Monteiro is a significant figure in European experimental music, who's been exploring sonic realms fearlessly since the mid-1990s. Originally from Porto but based in Barcelona, Costa Monteiro delves into improvisation, installation, sound art, and visual poetry, while constantly researching, whether working solo or collaborating with other like-minded Portuguese and international artists. Costa Monteiro's repertoire spans from traditional instruments like the guitar and accordion to a wide array of objects, both in their original form and altered by him, as well as his own voice. His body of work is a patient exploration of sound's potential, pushing the boundaries of music through various tonal, harmonic, and textural avenues.
Robert Kerber is a paper collage artist and writer of experimental texts born in Montreal, Canada, and residing in Frankfurt am Main, Germany. His collage works have appeared on the covers of independent music releases and in alternative print publications.
File under: drone
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BAD ALCHEMY
Koproduziert mit Grubenwehr, kommt Nunc (ACGF 1003, CDr, 7” artwork) mit Robert Kerbers surrealer Cover-Collage 'Vielleicht aus Mitgefühl, oder aus schierer Lust' als Augenfang. ALFREDO COSTA MONTEIRO kreierte in Barcelona die Musik dazu, mit der er nach “Transient Spaces As Impermanent Lines” und “Radiant” hinter seinem 60. Lebensjahr ein Ausrufezeichen setzt. Sirrsurrend fräst und poliert er an der Unmöglichkeit rum, zur Ruhe zu kommen in der einfachen Jetztheit einer lebendigen Gegenwart , die – nach Derrida –nur gegenwärtig ist, indem sie sich ununterbrochen aufschiebt [se différant].
www.badalchemy.de
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VITAL WEEKLY
Much like Manuel Mota, whose latest CD I reviewed last week, I very much enjoy the releases of Spanish composer Alfredo Costa Monteiro (although he is originally from Porto, Portugal), and, like Mota, I have yet never met the man or seen him perform a concert. Monteiro’s work falls into territories such as improvisation, sound art, and installation music, and many of these have drone-like aspects. Sometimes, he uses real instruments, primarily the accordion and guitar; sometimes, he uses objects. That’s the case on the new album, ‘Nunc’ (I don’t know what that means), along with oscillators and feedback (as it says on the cover). He created a 40-minute piece here, and I believe he did this at home, but somehow, it also sounds very much like a concert recording. It’s hard to pinpoint why I think this. Maybe it’s the sometimes swift changes within the piece, the occasional recurrence of very high-pitched sound (which the first time may have been a mistake, but following Eno’s oblique strategy, ‘if you make a mistake, repeat it’ (I am paraphrasing here, too lazy to find the right card), but it could be intentional). It’s also the sound of this piece, very much within a space (gallery, concert hall), picking up the amplification reflections and making these parts of the piece. It’s a top-heavy drone piece but one that moves around a lot. It sounds similar superficially, but even without too much concentration, you know it’s not the same piece. However, listen more closely; you will notice this piece’s many alterations. It’s perhaps not something you haven’t heard from Monteiro before; still, it’s another excellent work from the master in his field.
www.vitalweekly.net/number-1469
