2012. Deluxe Limited Edition
Electrónica en Abril celebra su X Aniversario con la edición de un doble vinilo, Festival Electrónica en Abril 2003-2012, que recoge una selección de diez temas realizados ex profeso por algunos de los artistas que han marcado el devenir del Festival madrileño.En este doble vinilo encontrarás diez piezas exclusivas que van desde investigaciones de cualidades muy específicas del sonido (Eleh, Radian, nsi.), pasando por fugas introspectivas (Thomas Köner, Maja Ratkje), y terminando con descargas de profundidad rítmica (Farben - aka Jan Jelinek-, Dopplereffekt, Elektro Guzzi, Matmos, SND). Todos ellos parecen compartir un afán de experimentación que abarca lo emocional. Experimentación que no es sino el juego entre lo conocido y lo que está por descubrir, como se hace patente en el tema de Matmos, quienes han compuesto su tema con el nuevo, y desconocido para ellos, sintetizador de un amigo; Eleh, que por primera vez ha producido utilizando grabaciones de campo; o Radian, incorporando la electricidad en su estado más puro como elemento compositivo.Con su aportación nos acercan a algunos de los momentos estelares de Electrónica en Abril, por su variedad, riqueza y valor puramente estético. En un momento en el que todo parece posible, donde la electrónica es un magma que lo absorbe todo, desde retazos de estilos añorados y esbozos de nuevos lenguajes a formas que obedecen a códigos perfectamente delineados. El futuro es un mar de posibilidades y esa es una de las razones por las que la música electrónica sigue siendo lo más excitante del panorama musical, porque es una herramienta que permite reinventar, incluso emocionalmente, todo lo conocido hasta ahora. Y porque predispone, como ninguna otra parcela musical, a cualquiera, ya sea un chaval de 16 años en su dormitorio o a un experimentado músico en su estudio, a reivindicar la realidad de las vanguardias sonoras. Conquistar nuevos espacios está al alcance de cualquiera, y ese potencial es extraordinario.El doble álbum, diseñado por Jorge López Conde, se edita en tela Bamberger Kaliko Duo bicolor, estampado por las dos caras; los vinilos son de color y transparentes.
the electrónica en abril festival was born in 2003, not long after la casa encendida opened, in response to what had become a clamorous demand: madrid needed to carve out a niche for itself on the international electronic music scene. the festival was conceived with a clearly-defined, manageable format: three days and three international artists per day. there was a distinct sense of the need to look outwards and absorb everything that was happening in other parts of the world, to push the boundaries of what was then the norm in the city. with this idea of excellence in mind, the festival was articulated around four specific concepts: avant-garde, cutting edge, live performance and wide-angle vision. we wanted to showcase some of the trends that had shaped electronic music in its myriad facets over the last decade, to create a space that was committed to these sounds. we set out to reflect on where electronic music was headed at the dawn of the 21st century, and in keeping with this ambition we juxtaposed a wide range of sound spectrums, such as techno, improvisation, hip-hop, jazz, electro, ambient, dubstep, wonky, etc. and how should we view electronic music: as an aesthetic category or a way of working with sound? it has been quite a challenge, but over the years the festival has gradually acquired its own shape and substance. in fact, electrónica en abril has grown not only as an event but also as a space that expands the city limits and constructs it, insofar as it brings audience and artists together in a shared project. it has become a kind of travelogue, guiding us as we transcend critical listening and open our minds to live, cutting-edge electronic music, whatever its roots.
"music is the weapon of the future," proclaimed fela kuti. in our case, we might say that in the past, or at least over these last three decades, musical standards in madrid have been a far cry from what one might expect of the third most populous city in the european union; unlike others, where any public or private space can become a metaphor or synonym for the music scene. consequently, everything that la casa encendida has made possible, whether by creating or by offering coordinates and tools, has merely served to open a door to the future. and electronica en abril has certainly found its niche among the many events organised by la casa encendida over the last ten years. conceived as a dialogue with an audience that has played an active part in this adventure from day one, the management model implemented by la casa encendida has alleviated some of the structural problems - access, education, press, television, etc.- that have held madrid back in terms of music, but although this has clearly fostered a certain growth, we still have a long way to go in both the private and public realms.
ten years on, we have reached the point where we are excited by the irrepressible vitality of the current electronic music scene at a time of dramatic changes in consumer trends, when artists are still trying to find their place and come up with a logical, legitimate response to the internet and the expectation of radical free consumption it has generated. we are thrilled with this small success and delighted that we have come so far, that we have been able to provide madrid with a wealth of sounds it was hitherto lacking, that we have made it possible for some of the most important artists of the past decade to visit our city for the first time, and that we have broadened the horizons of what we call electronic music. to celebrate this achievement, we have produced a vinyl record featuring some of the artists whose excellence and humanity have left their mark on la casa encendida. the tracks have all been specially commissioned, and the result is a double album which sheds light on the past and present of this festival. but it is also an album that testifies to the capacity of these musicians to shape their own language, which at this point in the 21st century does not even require electronic tools to create that halo of potentiality, to achieve the unachievable in the sound dimension. for electronic music, as a sound that questions the notion of the present, inevitably transports us to another place and a future that once seemed beyond our reach, and that is the great achievement of these artists.
today, when every imaginable national and international authority wants to deny us the future and undo many of the accomplishments of recent decades, music must become a weapon of the future, even in madrid, and regardless of whether it sounds like pure fantasy, for that is just another of the traps they have set for us. it must become a tool of the future for inventing new discourses, for using that praxis as a reflection and indispensable action for constructing our reality, and for claiming what rightfully belongs to everyone. this is the only way electronica en abril can exist.
jose luis villalobos electronica en abril festival curator 2003-2012
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