CD MURCIA SOUND MATTER
(AB), José María Pastor, Iona Pergo, Manuel Palma, María Hernández, Miguel Hernández, Macarena Llamas, Juan Jesús Yelo, Susana López, José Perelló, Sergio Sánchez and Francisco López.
Radio show: No Pigeonholes EXP
Radio: KOWS, California (www.kows.fm)
Host: Don Campau (www.doncampau.com)
Date: March 17th 2011
Track: 06, Susana López, Vortex
Typically, the sound recordings are contemplated as representations of reality.
The average listener and the vast majority of sound professionals and composers do not know that a sound recording can also be considered as an entity in itself, or, to be more precise, as a “sound object”, as they were properly described by Schaeffer more than half a century ago. This is precisely what makes “Murcia Sound Material” a Project about Murcia in the most meaningful sense of the term. Not as a poor and biased representation of different places, but rather as a creative exploration of a sound substance which originally comes from the region and has been freely used to create the pieces on this CD.
Additionally, I proposed to the participating artists to establish a way of collective creation which precisely deals with the phenomenological characteristics of this sound substance, as well as those other aspects of each creative mind or spirit involved. We create a common collection of recordings made in the region and at a later stage we transform this sound material using successive processes, bringing about a new shared collection of transformed materials. This is the basis for all the final compositions. This strategy divides the creative process into the individual and the collective levels, both of which are integrated and mixed in an interesting way. Each one of the pieces created for this CD is the result of a long process of mutation, transformation, development and reconfiguration. From my point of view, the results of this project are as much about Murcia as they are about the participants themselves. In the end, this is inevitable, regardless of the extractions of reality we take or the way in which we do it. While nowadays millions of people constantly collect extractions fixed in reality (in the shape of photographs or videos or sounds) with the specific aim of perceiving that reality once again through an illusion (which is more or less beautiful or emotive), some of us work with the awareness that those extractions are, in fact, a different “reality” in themselves.