3.07.2014

MIGUEL A. GARCIA


























MIGUEL A. GARCIA +
MIGUEL SOUTO
"the lurking fear"
Year:  2017
Label:  Anoxia
Format:  CD
Tracks:  4
Time:  60 min.
Genre:  electronic
Style:        Death Industrial


















really good become the newest Miguel A. Garcia recording, this time next to his collegue Miguel Souto, both from Spain. Result to mix some music styles as: noise, dark ambient and experimental, here we go with four tracks and almost an hour of agonizing and apocalyptic death industrial in the vein of classics of the genre. Perhaps too long work but anyway good.
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FRANCISCO MEIRINO +
MIGUEL A. GARCIA
"nonmenabsorbium"
Year:  2017
Label:  Idiosyncratics
Format:  CD
Tracks:  5
Time:  40 min.
Genre:  electronic
Style:        Abstract        Experimental





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"argiope"
Year:  2017
Country:  Basque Country
Label:  Insub
Format:  CD
Tracks:  6
Time:  50 min.
Genre:  electronic , acoustic
Style:        Experimental        Abstract





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"choirs"
Year:  2014
Country:  Basque Country
Label:  Copy For Your Records
Format:  CD
Tracks:  5
Time:  45 min.
Genre:  electronic
Style:        Experimental         Noise




















The busy bee Garcia finds a good home with Copy For Your Records, following his collaboration with the labelboss. Garcia was once called Xedh and as such explored various genres before settling upon his own brand of electronics/computer processing/noise/electro-acoustic, and not necessarily in that order. I somehow, wrongly expected here to find the sound of processed choir recordings, but it's not to be. Unless of course they have been processed to such an extended that we are no longer able to hear this. Garcia plays radical music, and the radicalness is to be found in the use of dynamics. His music can be very quiet, such in 'Ninos Rata', but also very loud as he proofs in 'Centre'. There is a certain playful aspect in this music, which reminds me of his background in the world of improvised electronics. The chopped up sound of 'Centre' is such a thing that is a reminder of that. Most of the times however Garcia has a more composed sound, and goes within a piece from soft to loud, as in 'Tentacle'. Using field recordings fed through analogue electronics and maybe some sort of computer treatment is collaged together in dense fields of sound, like various power stations in vast plain. There is certainly an element of 'dirt' around here, 'rust' if you will and it all buzzes and sparks electricity. Drone music of a more violent nature. Garcia can be placed next to Francesco Meirino as one of those boys from noise who know what they are doing and keep things interesting - Frans de Waard, Vital Weekly.
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"Axacra"
Year:  2014
Country:  Basque Country
City:  Bilbo
Label:  RMO
Format:  CD
Tracks:  6
Time:  75 min.
Genre:  electronic
Style:         Experimental        Noise



















One of the most successful Miguel A. Garcia recordings, could be with no doubt this one entitled "Axaacra". Finally we can recover the lost time and write a review to one of the best experimentalists musicians in my country , Spain . Specifically Miguel A. Garcia ( aka Xedh ) has recorded a lot of work basically Noise in all its variants , but has also worked on experimental , free improv . , Drone , ambient and even some industry approach to rhythms and sounds. This new solo album Miguel A. García has been recorded and promoted by the label " RMO " cudad of Bilbao ( the same where our artist lives ) and collects 7 lengthy compositions of supported environments made ​​based on electronics, manipulations of field recordings and acoustic instruments. A varied and colorful experience between the intimate, violent and humorous , but with surprising immersive dynamic contrasts . Therefore it is not another album in that it entrenches Bandcamp doing the saturated brutal and harsh noise created in Japan in 1979. But ( despite having more ruidistas sequences) is balance between ambient, drone and a countless multitude of very thin layers of noise, echo , reverb and even some little silences. Miguel shows us how to make music with saturated noise, the pure silence and the whole range of different sounds that may exist between them. Noise and Silence. What's in between? as in "The Axacra" there are 75 minutes to show us everything you may discover between these two extremes and, of course, without ever using the human voice, rhythm and melody. Impossible? at all. This massive work of more than 1 hour was designed to be free and reach all listeners without any limitation. No limits, No borders. The Culture as a treasure to share with everybody. This is the idea. I can not speak for the entire discography of Michael, because it is very extensive and unfortunately do not know much of it, but it is certain that "The Axacra" sounds mature record and experience.
   Discogs   ,   Lastfm   ,   Download   ,   Larraskito Records   ,   Doministiku Records   ,   Soundcloud   ,    Web   ,   Zarata Festival   ,   Facebook   


























































NICK HOFFMAN +
MIGUEL A. GARCIA
"vile cretin"
Year:  2013
Country:  US, Spain
Label:  Intomena
Format:  CD
Tracks:  4
Time:  40 min.
Genre:  electronic
Style:        Experimental        Abstract





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MIGUEL A. GARCIA +
TOMAS GRIS +
LEE NOYES
"Asto ilunno"
Year:  2013
Country:  Spain, Spain, Sweden
Cover: drawing by Nick Hoffman
Label:  Ideal State
Format:  CD
Tracks:  1
Time:  31 min.
Genre:  electronic , acoustic
Style:       Experimental













On "Asto Ilunno" (Ideal State recordings) we’ve got a single piece of improvised sound art which lasts some thirty teeth-grinding minutes, delivered by the capable mitts and shovels and Miguel A García, Tomas Gris and Lee Noyes, the latter of whom released the item on his own idealstate recordings label in Goteborg. I’m always drawn to anything where my favourite abrasive Spaniard García is involved, but Noyes is a new name to me, so I looked up his dossier. This Canadian-born fellow has spent a chunk of time in New Zealand before moving his base of operations to Sweden, and he’s a firm believer in the collaborative and co-operative ideals of improvisation, priding himself on his listening and communication skills, while exploring the sound potential of percussion, feedback, and the piano, which is what he plays here. Asto Illuno is one of those exploratory improvisations that seems to take a long time to get started – there are some eight minutes of barely-audible fizz and rattle before the players feel comfortable enough to commit themselves to anything more than stalking around each other like lions in a cage – but thereafter it’s a topnotch example of hypnotic, distilled free noise operating in a carefully-controlled, almost rigid environment. García belches out polite chunks of crackle from his electronics set up, Gris performs peculiar and nameless actions on his table of objects, while Noyes punctuates the floating atmosphere with well-judged blocks of minimal chords struck from his dampened keyboard. Indeed it’s Noyes’ piano trills and stabs which stand out for me on this record, occupying their space in the ether with a clarity and starkness that’s akin to the voice of a tall Presbyterian preacher delivering a sermon from the pulpit in stern and clipped tones. I never thought I’d hear anyone defeat the mighty García in an improv standoff, but Noyes succeeds here in putting all that undisciplined scrabbling and doodling in its place with just a few seconds of his coldly ethical piano work, damping down the Spanish fire with his jets of ice water. In all, a near-ceremonial trance experience emanates from this steely and grim session, an impression which is bolstered by the bizarre shrine drawing on the front cover decorated with skulls, zombie heads, snakes, and quasi-Masonic symbols. This was provided by our good friend Nick Hoffman of Pilgrim Talk. A real grower…from 10 October 2013. (*NOTE = this review was written HERE ).
  Discogs , Lastfm  ,  Download  Ideal State  ,  Lee Noyes  ,  Miguel A. Garcia  ,  Tomas Gris 













































































MIGUEL A. GARCIA +
LALI BARRIERE
"espejuelo"
Year:  2013
Country:  Basque Country
Label:  Nueni Records
Format:  CD
Edition:  100 copies
Tracks:  4
Time:  30 min.
Genre:  electronic
Style:         Electroacoustic





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MIGUEL A. GARCIA +
DURAN VAZQUEZ
Year:  2012
Country:  Basque Country
City:  Bilbao
Label:  Cronica electronica
Format:  digital
Tracks:  2
Time:  32 min.
Genre:  electronic
Style:        Experimental        Noise

















2013 marked the 100th anniversary of Luigi Russolo's letter known as L'arte dei Rumori, a Futurist manifesto usually quoted as being the landmark that pointed out incorporation of the so-called noise in the western musical tradition. And ten decades may seem to be a lot of time but the truth is that Russolo's legacy (not to mention that of others who came later) is very far from the political consciousness and the cultural imaginary of the most people. A characteristic mark of the present time is the huge, ever growing, gap between what most people know about the world and what professionals in every single field of study know. This is also true among professionals from different fields (each hand doesn't know what the other is doing). The split of the atom is still now vanguard science in popular consciousness. Genetic manipulation, nanotechnology, geoengineering or weather modification are only blur and cryptic notions at best, or simply unknown matters. Not to mention their military applications. And all this despite the naïve Futurist ode to progress and speed.
  Discogs   ,   Lastfm   ,   Bandcamp   ,   Cronica Electronica Records 





















































XEDH + FLUTWACHT
Year:  2012
Country:  Basque Country , Germany
Label:  Tourette Tapes
Format:  cassette
Edition:  50 copies
Tracks:  1
Time:  30 min.
Genre:  electronic
Style:        Death Industrial


















This publication is not a piece to see through heavy. The only one... 30 minutes long piece is simply called "Untitled". On the depositors FLOOD WACHT is as the source of analog noise loops, Miguel A. Garcia aka XEDH as beisteurer of electronics. Whether the two, subdivided into several subsections pieces were added together or whether the musicians sound files sent back and forth, we may never know, nor whether there was a substantive concept. So "Masked Source" is simply a "tape in the bag"... Musically, the collaboration between the two musicians, a realization of the more exciting variety, because the loops, for example, permanently penetrate the ear in the above gap tape, are here with electronic Noises, oblique frequencies, scraping, sanding, whistling but contrasts and also broken electroacoustic phenomena. Since listening becomes permanently been a lot more fun, because the ear and brain get to do something and the range of often very dull "Analog Loops" is extended upwards. Many sound could a horror movie come, be another added in the hold of a ship, be another crash from the battlefield again - get bored because rather not. Very nice about this split is that there is always room for restrained Noises and is not always cut at the 12, for example at the end of side A, where you will earwitness an acoustic exploration - which explores exactly the artist because, but remains hidden from me (*NOTE = this review was written HERE).
  Discogs  ,  Bandcamp  ,  Tourette Tapes  




































































































NOISH + XEDH
"rlhaaa to"
Year:  2012
Country:  Basque Country
Label:  Pilgrim Talk Records
Format:  cassette
Edition:  70 copies
Tracks:  2
Time:  60 min.
Genre:  electronic
Style:         Experimental




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XEDH
"compositions in red"
Year:  2007
Country:  Basque Country
Label:  Camomille Music
Format:  digital
Tracks:  1
Time:  23 min.
Genre:  electronic
Style:        IDM        Ambient



















We'd like to welcome you to the new year with one of our most ambitious releases to date, (Miguel A. Garcia) Xedh's "composition in red". Clocking just under 24 minutes, Miguel A. Garcia gives us motion, enhancing and pushing the limits of perspective, leaving prudence and opening the listener to unpredictable movements. In a constant struggle for balance, Xedh explores mathetmatics and cognitive logic on one side and pits it against nature and harmony. The result is an abstract brawl for domination, as you can discern the organic tissue from the synthetic in their collisions. There is an uneasy, but raw, universal beauty to this track, like throwing paint on a wall with rage and watching it trickle down. Composition in red's dichotomy, dynamic and intrigue is both sonic and visual, and it feels like you're bearing witness to the creation, and destruction, of a Pollock or Rothko. Also included in this release, is a 4 part video release, directed by Sara Paniagua, and she rightfully explores Xedh's music with compassion, distance and romanticism. She melds chaos and staticity into one hour of recordings; including a walk in the woods, a choreographed presentation and various visual experimentations.
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