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 Carlos Suárez Sánchez

 Transit Mundi

 

 

         Vanitas 

         Et potestas tenebrarum

         De omnibus dubitandum

         Oficium tenebrarum 

         Vulgus veritatis pessimus

         interpres (Intro) 

         Vulgus veritatis pessimus

         interpres (Artaud) 

         Ubi est mor victoria tua

         (Intro) 

         Ubi est mor victoria tua

         (Borges) 

         Oculus Juya

         Nosce te ipsum II

 

 

 7 € 

 

CD DIGIPACK

 

OTROS MÉTODOS DE PAGO

ENVÍOS CERTIFICADOS

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luscinia.discos@gmail.com

 

A LA VENTA TAMBIÉN

en

GRANADA:

SUBTERRÁNEA COMICS DISCOS

Horno de Abad, 12 

subterraneacomics.blogspot.com

MADRID:

ROTOR

Gran Vía, 40, 6º-1  

rotordiscos.com

MUNICH:

ESSENTIA MUNDI

essentiamundi.com

 

Carlos Suárez Sánchez es un compositor gallego-venezolano con trayectoria asimismo como etnomusicólogo y percusionista. En Transit Mundi utiliza el lenguaje de la electroacústica, resaltando, por un lado, la importancia de los sonidos de la naturaleza como inmensa y rica biblioteca llena de sentido, y por el otro, el trabajo de estudio, más formal, sobre frecuencias, intensidades y estructuras, en un conjunto de diez piezas que nos incita a una inmersión en la densidad y equilibrio sonoros así como en el núcleo de nuestro presente, sin obviar la poesía. El uso del latín en los títulos, y en el marco de esta propuesta, conlleva una reflexión sobre el hecho de que un idioma imperial y continental en su momento, paradójicamente, pereció, metáfora de la vanidad del poder y que apoya la idea de que el movimiento, el cambio y la evolución son parte de la realidad, como la vida y la muerte. La asamblea de animales del Popol Vuh que ilustra el disco está llena de un barroquismo y de esos significados simbólicos de los que también rebosa la música. Todo muy telúrico e intenso, dialéctico y articulado, brillante y profundo, sólido y sutil: Atravesamos el mundo, recóndito y sublime, con sus placeres y su dolor.  

 

Diseño gráfico de

Carlos Suárez

 

Agosto de 2012

 

carlos suárez

 

Entrevista en prensa:

Sulponticello 13/11/2014:

"Con Carlos Suárez"

(por Juan José Raposo Martín)

 

Podcasts:

UNDÆ! Radio #30 28/10/2013:

"Ubi est mor victoria tua (Intro)"

Chorro de Luz #145 1/10/2013

Wonderful Wooden Reasons 53 8/7/2013:

"Vanitas"

The Sound Projector Radio Show 18/1/2013:

"Oculus Juya"

Vital Weekly #863 1/1/2013:

"Vulgus veritatis pessimus interpres (Artaud)"

Vía Límite 13/11/2012:

"Ubi est mor victoria tua (Intro)"

Ars Sonora 3/7/2011:

Entrevista

"Vulgus veritatis pessimus interpres (Intro)"

"Et potestas tenebrarum"

Ars Sonora 25/6/2011:

Entrevista

 

         Críticas

 

" In recent days my attempts to survive as a (still) decent individual were hindered by close encounters with mass-related idiocy. As those moments threaten to generate a measure of internal disquiet, that is the start signal for rummaging across the archives to retrieve forgotten items undeservedly accumulating dust in some plastic box. There is nothing like filling the ears with significant sounds to repel the annoying recollection of blathering bugs hiding psychological deficiencies behind a grotesque mask of pseudo-intellectual ignorance.

As I stumbled upon Transit Mundi – a record from 2012 by a composer whose last post on his website dates from the preceding year – the initial listen opened a whole world of aural depths, immediately putting the chest in a “tranquil breathing” rhythm. The subsequent spins confirmed the necessity of bringing this gentleman back from obscurity. Suárez Sánchez used a variety of expressive means – including field recordings – to present the listener with an immersive, multi-dimensional acousmatic voyage. His work belongs to the zone where reality and illusion mix to produce serious mental void for a thorough cleaning of any bad intention. It’s full of minuscule details, and yet magnificently vast in its rich reverberations. It really gives an idea of cosmic continuity, minus the boring verbosity typical of those who talk the talk but never walk the walk. And it even features taped reincarnations of Antonin Artaud and Jorge Luis Borges, respectively speaking in “Vulgus Veritatis Pessimus Interpres” and “Ubi Est Mor Victoria Tua”.

The final advice is predictable. Get a copy of this release and let it flow within, possibly via headphones – not at excessive volume – and resting your head with the eyes closed. It will help finding several instants of pure magic as your innermost cavities resonate. Yet another exemplification of one of my favorite mottos: good music has no expiry date. Time for Suárez Sánchez to update us with new posts.
" (Massimo Ricci, Touching Extremes, 17/7/16)

— — 

" Now here's an interesting piece of dark and desolate ambience.

Suarez is a Spanish composer with an impressive pedigree that I have singularly managed to miss. If this album is evidence of what has gone before then that's a shame.

The music on 'Transit Mundi' is a cascading torrent of abrasive and elemental noise. It's by turns pithy and vehement and also unassuming and introspective. I'm much more interested in noise music when, like this, it's produced with thought and an accuracy of touch rather than just with a distortion pedal fuelled by piss and vinegar. As such I enjoyed this very much. It conjures up all manner of disconcerting atmospheres and makes for an entertaining journey. " (Ian Holloway, Wonderful Wooden Reasons, 8/7/13)

— — 

" De l’électroacoustique ambiante espagnole. Transit Mundi propose des textures enveloppantes, souvent angoissantes, ponctuées d’imprécations qui n’ont rien pour rassurer, nommément les voix de Borges et d’Antonin Artaud (un soliloque sur la médecine et la magie). Souvent drone, parfois doom, on frôle à l’occasion l’univers de KTL. Linéaire mais intéressant.

Spanish ambient electroacoustics. Transit Mundi consists of immersive textures, often disquieting, anguish-ready, punctuated by imprecations that will do nothing to reassure you, especially the voices of Borges and Artaud. Often drone-line, at times doom-like, the music occasionally drifts close to KTL’s soundworld. A bit one-track-minded but interesting. " (François Couture, Monsieur Délire, 9/4/13)

— — 

" El resultado finalmente no queda lejos de clásicos de la electrónica oscura de la "escuela" de Lustmord " (Andrés Noarbe, Rotor, 5/1/13)

— — 

" One of the more exciting new labels of last year is Luscinia Discos from Spain. Pretty much all of their releases I thought were great and none of the names of the musicians and composers mean a lot to me. That means the world is infinitely bigger than a few handshakes. Here we have Carlos Suarez Sanchez, who was born in Spain but lived in Venezuela where he works as a composer, percussion player and ethnomusicologist. He has composed over fifty works for acoustic and electro-acoustic works. I guess this new one is among the latter. The cover doesn't give much away as to the nature of these pieces, but I think it's safe to assume it has to do with field recordings, but also voices, and perhaps processed percussion sounds (but that might because Sanchez is a percussion player). All of this is committed to the computer and transformed into a very nice work of electro-acoustic music, which only partly nods towards the world of serious electro-acoustic music, which to my ears is great as the official world is always a bit stale. But here Sanchez composes ten great pieces, in which the insect sounds of the jungle are used in all sorts of configurations, high pitched but always changing and gliding. The percussive sounds are spooky and intense; almost like a scary movie. The latin texts may not always be my cup of tea, because it sounds a bit 'gothic', but since they are only sparsely used, I may not care that much about it. Indeed, another excellent release on this label. Totally professional package too actually! " (Frans de Waard, Vital Weekly #863, 1/1/13)

— — 

" A few examples of [2012] works based on field recordings that had surprised me quite a lot:

Transit Mundi – Carlos Suárez

Because Carlos Suárez has been able to create a very personal, rich and complex world made of soundscapes, a thrilling album full of tension, emotion, beauty and horror. A field recordings roller-coaster. " (Edu Comelles, The Field Reporter, 30/12/12)

 

 

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Última actualización: 18 de julio de 2016