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This collection of electroacoustic vocal and piano improvisations was recorded in Guaynabo, Puerto Rico in the midst of the hottest month in recorded Puerto Rican history (it has since been replaced by a more recent date). While it is certainly not traditional piano and vocal improvisational performance by the strictest definition, in many ways this series of recordings acts as a return to fundamentals in spontaneous sonic exploration with very minimal processing in post-production. With piano and voice being the first instruments learned by the artist as a child, much of these improvisations act as a vehicle of a positive form of musical regression. The challenge at hand is to create a sound as full and textural as that of a fully electronic production across tens of channels, but only through three: piano, voice, and granular synthesis.
This is a series of improvisations surrounding the topic of 21st century austerity, focusing specifically on the liberatory nature of certain technological innovations that most in the Global North now take for granted. How can you create art when you're worried about whether the food in your fridge will remain fresh past the evening when the power has been out all day? How can you remain in constant contact with your family and friends when all communications providers are at capacity in the midst of a Hurricane or other natural disasters? As there is no telling how long the power grid is going to remain functional in the oldest colony on the planet, it’s crucial that digital art and performance be produced here and now with the tools available, right up to the very point when they no longer are. Pianovoz Electroacústica places this nowness front and center, it can speak for itself as creative music, but illustrates the need to continue working even as the safety nets surrounding you begin to crumble all the more. More importantly, this series of improvisations acts as a warning: the Global North will only be able to ignore these realities up until the point at which they arrive at their doorstep. The time to make preparations is at hand for every human on this planet, and that includes protecting the means of creating art.
Peretsky is the sonic arts moniker of composer, performer, educator, and writer Max Alper. He writes prose and shitposts on the topics of the democratization of music technology and the many faults of the contemporary music industry under his own name and under the online pseudonym @la_meme_young. He teaches composition and sonic arts both privately and as faculty at the Conservatory of Music at Brooklyn College and the New York Film Academy. He lives in South Brooklyn, New York.
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