![]() Her 2019 debut LP, Pies Sobre la Tierra, introduced the world to Fratti’s lush & hypnotic cello compositions. ![]() This release follows Guatemalan-born composer Fratti’s critically acclaimed Será Que Ahora Podremos Entendernos, made while quarantining in the artist compound La Orduña, outside Mexico City, and of which Pitchfork says, “blooming with ecstatic synth riffs and spirited cello, the record captures the sound of a mind abuzz”. ![]() Their collaboration dates back to a chance meeting at experimental music festival, Umbral, soon after Mabe moved to the capital, and the pair instantly became friends through their common interests and shared love of sonic experimentation.įratti creates hypnotic and captivating performances, sewing contemporary elements like shoegaze and dream pop with ancestral influences, from Gregorian chants to Sephardi music, transformed in a potent sonic ritual that creates a profound emotional impact. The dynamics slider controls an in-built processed signal, curated by the artists, starting with the dry signal and bringing in pre-programmed effects, unique to each individual presetĮmerging from Mexico’s vibrant capital city, Mabe Fratti and Concepción Huerta have both forged their own individual paths at the forefront of the city’s improvisation scene, playing with progressive sounds, pedals, and effects, all of which have become a mutual musical trademark.Seven bespoke IR reverbs, from Kiln to Church Balcony.8 controls, providing a wealth of complex sonic possibilities : Expression, Dynamics (processed signal), Reverb, Attack, Release, Chorus, Flanger and Phaser- engineered to offer a wide range of detailed sound-sculpting possibilities within a single patch, so it sounds like you.Presented in Spitfire Audio’s award-winning, dedicated plugin - compatible with any DAW.Warps (4)Ītmospheric and orchestral-based, this section provides extra layers to add more depth and texture to your compositions Vocals (4)Ĭomprising organic vocal performances and granular, processed vocal-based pads, this section lends itself well to composers looking to add a human touch to their compositions, achieving sounds other instruments can’t quite capture. Tape (11)Ītmospheric tape processing from Huerta, from hissing to sounds reminiscent of old radio signals, with room for further experimentation. A static electric signal, frozen in time.”įratti’s wide range of distinctively haunting cello techniques range from soft bowings to aggressive bow FX and bending strings, capturing the raw character of the instrument, while also pushing it to its limits – a sea of reverb and distortion achieving alien-like drones, as well as tones reminiscent of an electric guitar. “The sounds and music we’ve created reflect the dichotomy of both meanings of the word ‘estática’”, says Fratti, “the charge of static electricity inside us, combined with the feeling of stasis and immobility that comes from being overwhelmed - that feeling when you can’t do anything and are totally stunned. Estática reflects this notion of feeling overwhelmed and confused in the wake of a global standstill. When the artists started to create together, they wanted to express the overwhelming sensations that the news of the world resonated in their minds and bodies, and how small it made them feel. Huerta’s chain of pedals and machines include her Tascam Portastudio, Slim phatty Moog synth, multiple tape players, a custom-made fuzz pedal, a Roland SP 404 and a Moogerfooger ring modulator. Re-thinking approaches to cello, voice and effects, the sounds showcase Fratti and Huerta’s bespoke DIY instrumentation, including a range of classic analog synths as well as Fratti’s self-designed pedal board featuring a ProCo Big Box Rat V1 distortion pedal, SPACE Eventide Reverb, OC3 Octaver, DL4 Line6, and Acetone FuzzMaster FM2. Estática combines the organic, natural forces of Fratti’s haunting cello, analog synths and vocals with Huerta’s experimental use of tape, pedals and heavy processing to create an atmospheric and almost supernatural quality complete with feedback squeals, drones, menacing plucks and saw-like, metallic edges. Developed and recorded in Mexico City, the library was created at the same time and in the same space as the artists’ four-track EP of the same name, within a live, improvisational environment.
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