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| RTomens, 2024 |
Second in the silhouette series, using acrylic paint.
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Prepare to have your mind blown by Bolivian composer Cergio Prudencio (that or shrug indifferently and click off, it's your choice but if you choose the latter you need your ears checking).
'In addition to forming ensembles with highland native instruments (sikus, tarkas, mohoceños, pinkillos, wankaras, seeds, drums, etc.), the foundation is laid on the three structural principles that govern Aymara music: "arca-ira," which means alternation of sounds between two musicians; "tropa," which involves the formation of large ensembles of instrumentalists and sound amplification; and "wakiña," meaning community strength. According to Prudencio, the acoustic and expressive identity of Andean-highland sounds originates from these principles, as does that of the OEIN.'
I had to quote because, to be honest, I'm lost for words, especially when fathoming what the hell I'm listening to and I've only started listening this morning, whilst it undoubtedly requires many more plays to even begin to comprehend the depths and, yes, what you're actually listening to.
Whilst I think of the Art Ensemble of Chicago's slogan 'Ancient To The Future' that doesn't cover this anthology, really. It sounds, in part, 'ancient', as in traditional, yet is 'progressive', even avant-garde (I hesitate to use the term it can be off-putting).
Imagine Edgard Varèse in the Bolivian mountains. If you like. I just did.
I'll shut up.
You listen.
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