Nzʉmbe – Titubeo
Miguel Prado: Vocals, Modular synthesizer, Electric guitar, Keyboards, Percussion
Rafael Mallo: Percussion (track 2)
Roberto Mallo: Alto saxophone (track 4)
Ruth Barberán: Trumpet (track 7)
Alfredo Costa Monteiro: Accordion (track 7)
Recorded by Miguel Prado in A Coruña in the first half of 2014
Mixed by Roberto Mallo and Miguel Prado
Mastered by Giuseppe Ielasi
Cover photo by Rafael Mallo
Organized Music presents Titubeo, the second release from Miguel Prado’s Nzʉmbe project. Miguel is a Galician “composer/theorist/ provocateur” (Byron Coley, The Wire) based in Bristol, UK. Since 2007 he has released a number of solo works, and has worked together with artists such as Mattin, Stephen O’Malley, Michael Pisaro and Jozef Van Wissem.
While the project’s first appearance (‘La labor de lo inhumano’; Taumaturgia, 2014) came in the form of an ultra-limited edition of a phonographic cylinder, Titubeo features a fully formed suite of songs in which Prado rises above what may have been taken as a conceptual endeavour and delivers a testament to his lyricism and musical invention.
Built upon a musical bed of modular electronics, guitar, keyboards and percussion, and featuring musical contributions from fellow Iberians Rafael and Roberto Mallo, Ruth Barberán and Alfredo Costa Monteiro, the record’s seven tracks are comprised of several nakedly emotional structures that most closely bring to mind the decadent lyricism of late-70s music and general culture. Unashamedly romantic, the songs waltz through references to disenchantment, affection and humiliation, allowing for grand gestures, electrical explosions and hammering repetitions to tower over the music while the voice maintains a steady and melodramatic tone throughout. The vocals themselves are often heavily processed and broken down to digital shards, reinforcing an unusual disembodiment of the voice.
What in most records is taken for granted –the sound of the recorded voice- here is laid bare in all its isolation, vulnerability and exposure. Coupled with the music’s sharp and dramatic tone, it makes for an intricate and memorable atmosphere.
Titubeo is a cycle of modern baroque love songs.
Nzʉmbe is a Miguel Prado´s project for “songs”.
Nzʉmbe captures and records romantic songs and disembodied voices.
La labor de lo inhumano is its first release, in phonographic cylinder format. A limited edition of 10 copies. The audio content never will be uploaded to the internet.
A “Phonographic funeral urn”.
Support the project via the pre-order of one of this copies.
Available in November 2014
If you´re interested in purchase a cylinder just drop me an e-mail to miguel at taumaturgia dot com
50€ with shipping to europe
55€ with shipping overseas
Review of “White Metal” by Nick Richardson in the June Issue of The Wire: Adventures In Modern Music
Fundação de Serralves – Porto
FROM 06 MAR 2014 TO 10 MAR 2014
06 MAR, 22h00
1 – Introduction to Subjective Depersonalization of the Voice
07 MAR, 22h00
2 – Evacuating Self-Representation
08 MAR, 18h30
3 – Non-significance Speech
09 MAR, 18h30
4 – Mechanisms of Human Voice
10 MAR, 22h00
5 – Evacuation of Gender
Mattin and Miguel Prado met in A Coruña in 2007 and since then have shared their long running interest in voice within the context of improvisation and noise. Since 2011 they have developed the project of Evacuation of the Voice (EOTV) which includes Mattin’s LP “Object of Thought” and Miguel Prado’s text “Geotraumatic Evacuation of the Voice”.
The urge for the “evacuation of the voice” appears from its inseparability from the dismantling of the face, identified as the vehicle for the representation of the “I” in capitalism. The artists propose ten sessions of one hour each (of which five now take place) where they will try to performatively evacuate the voice from their bodies, resorting to a process “subjective depersonalization”. The distancing form the thinking with the refusal of generic aesthetic idioms emerges as strategy to try to “understand our psychological, physiological and neurobiological conditions from an outsider’s perspective”.
Each session will be recorded and published together with the theoretical research in order to allow future analyses.
Object of Thought:
Geotraumatic Evacuation of the Voice: