"Decimoséptima referencia en el netlabel vasco-gallego Larraskito, esta vez de la mano del joven músico Durán Vázquez, proveniente de Galicia. Evocador, místico, soñador, escapista, oscuro, viajador…son palabras clave para entender este “De catro a catro”, trabajo donde la ya confesada influencia cinematográfica se hace vigente en la capacidad para sugerir imágenes, y en la estructura tan narrativa de todo el disco. Escuchándolo, destaca el uso de melodías con sonidos muy sintéticos que se podrían definir, quizá, como “misteriosas”. Éstas quedan siempre en un primer plano, relegando a un segundo plano otros sonidos a veces no tan sintéticos, que podrían ser fruto de manipular grabaciones de campo. Tal vez sin analizar debidamente el disco, me atreveré a diferenciar dos partes. Una formada por las tres primeras pistas, que mantienen un claro mismo hilo conductor, repitiéndose melodías y sonidos. Casi podrían funcionar bien las tres juntas en una misma pieza. Es la cuarta la que rompe un poco y el que propone un cambio, con otro ritmo y una atmósfera un poco diferente. La quinta le sigue a la cuarta, pero siendo aún más evocador. Y es que, en ésta última pista casi llego a oír cantos gregorianos (lo cual no es ni bueno, ni malo)."
Oier Iruretagoiena
Audiolab Arteleku
about Ghetto, Borghetto from Carbon Records:
"Distorsion processed electronic sources progressively give way to denser texture of various other materials featuring all maner of idiomatic, mediatic, music samples and instrumental processings that contribute to the weaving of this accretion of assorted noise. Constant disruption comes to mind as a common denominator of these busy sumperimpositions of unrelated, chaotic materials, thus illustrating an illuminating portrait of present day relevance. The internal logic of the accretions obey its obvious lack of coherence, thus drifting in a careful manner if totally devoid of aim, purpose or message. It is merely a portrait in its recurrent, relentless insistence and merciless precission of development."
Modisti
about Product 01 from Crónica Electrónica:
"[...]Durán Vázquez' Pigua Megapigua begins at track 10 after half a minute silence to separate the two artists. [...] A good contrast to Sivanesan in that a denser almost underground pulsation starts off his offering in an intense way. A connection I feel between the two artists is a feeling of hidden elements that can be barely heard within the music.
The deep subtle rhythms of track 11, Rochas no Ceo, sound as if they are recordings of a submarine under water muffled by the pressure of the water on the microphone. String samples blees trough also in a muffled fashion creating aan interesting blend.
Like Sivanesan offering, Vázquez offers quite different material from track to track although maintaining a certain character. Its quite a mix of different ideas and interesting transformations. Deep angry monstruous bass sounds envelope most of the tracks with looped samples and electronic anipulations accompanying. He manages to create a rather bizarre head-space, almost like being stuck out in a storm with strange traffic-type sounds looming in all around you (e..g. track 15)." 06.2004 phosphor.nl
"[...]La seconda metà è appannaggio di Vázquez, che con "Pigua, Megapigua" spolpa similari frattaglie di glitch e poi le rimpasta in un indistinto polpettone ambientale da cui, con il supporto di un paio di scatole di Roipnol e un bottiglione di vodka, si arriva ad avere visioni e suggestioni celestiali. L'idea più originale di quest'uscita à che metter insieme, in pratica, due possibili diversi CD in uno solo.
Potrebbe e dobvrebbe diventare un trend, di modo che anche noi potremo risparmiare spazio nella nostra discoteca." Stefano I. Bianchi, 02.2004 Blow Up.it
"[...]Avec Duran Vazquez on est un peu plus en terrain connu, mais surtout il sait apporter une dimension émotionnelle à ses morceaux. Mis à part 2 titres qui restent relativement abstrait, le reste est un subtile dosage dans lequel on retrouve juste ce qu'il faut d'éléments rythmiques ou mélodique pour ne pas être complètement laissé à l'abandon. Dark-ambient à base de souffle et bruit sourd de machine qui rappelle les battements d'un coeur (Monsanto, East St. Louis, Illinois), approche similaire avec des éléments qui se mettent en place de façon précise pour un Virus Simplicity dans un style electronica rythmique, ou texture ambient qui tourne en boucle, créant du même coup un rythme (Sueño Eléctrico Controlado). Et quand il utilise des mélodies c'est avec la même réussite. Celle de Death Simplicity tient sur 4 notes répétitives, inquiétantes et brouillées par des voix distordues et hachées. Plus subtil, Rochas No Ceo est peut-être le plus beau morceau de l'album, lorsqu'une magnifique et sombre mélodie s'extirpe d'un lointain magma granuleux et d'entre-chocs.
Si l'idée de faire cohabiter deux artistes sur un même album n'a finalement guère plus d'intérêt que chez d'autres labels, les choix opérés par Cronica devraient faire la différence. On a le temps d'apprécier le travail de chacun, et les deux artistes ont une même approche, une même exigence, ce qui rend l'album parfaitement cohérent. Pour finir, Duran Vasquez est pour nous une véritable révélation."
Fabrice Allard, 03.2004 etherreal.com
"[...]Vázquez kommentiert einem der Tracks seine 'Pigua Megapigua'-Zyklus so: "The noise of machines is a fake silence. From the imperceptible hiss of audio gear until the electro-magnetic fields in each electronic component, all machines have their own bark shaped as a whisper. We fold them with our sanguine pulse and they eat our brain." Das Wort 'Himnahrung' bekommt hier eine perverse neue Bedeutung und korrespondiert mit dem Undehagen, das spezziel von 'War Simplicity' ausgeht mit seinen martialischen Untertönen - als ob ein Koloss sich vom Horizont her nähern würde. Aber auch 'Virus Simplicity' nagt mit düsteren Lo-Fi-Unterströmungen und repetitiver Mechanik an den Synapsen, oder das diese Dark-Ambient-Suite abschkießende 'Death Simplicity', dessen zunehmend verhackstückter Vocal-Loop gespenstisch umknarzt und von einem dumpfen Pochen durschpulst wird." 02.2004 bad alchemy.de
"[...]Por sua vez, Pigua, Megapigua, o "lado b" do split preparado por Durán Vázquez[...]apresenta ao ouvinte uma faceta mais dinâmica daquilo que a que se pode chamar música experimental. [...] Pigua, Meguapigua oferece-nos paisagens, muitas vezes cinzentas como as do booklet do CD, sacadas a um sonho estranho e, por vezes, horripilante que já tivemos, instalando no ouvinte uma sensação não muito distinta da experienciada, noutras circunstâncias, aquando da audição da música criada por Alan Splet e David Lynch para a banda sonora de Eraserhead. Os efeitos de imitação e de insolência do ruído são uma constante mas são sempre abordados de uma forma perspicaz e apaixonante.
“Monsanto, East St. Louis, Illionis”, um velho tema techno, é aqui transfigurado numa "espécie de silêncio audível e rítmico como a morte que consumimos diariamente" (diz o booklet, o escriba concorda). Por seu lado, “Rochas no Ceo” [...] evoca as rochas que no tempo da guerra eram propagadas no céu, representadas, por exemplo, pelo pintor surrealista René Magritte no seu quadro La Fleche de Zenon. Há a sensação de anúncio de tempestade e, simultaneamente, descortina-se a permanência de um som que não foge, mas que paira. No tema que fecha o disco, “Death Simplicity”, há um crescendo de vozes distorcidas e incompreensíveis que vão instalando um caos incómodo, sob um fundo de electrónica avariada. Os últimos segundos ficam por conta do vento que se cala, de rompante, aos 55 minutos e 58 segundos que se seguem ao início desta viagem pouco convencional. [...] Pigua, Megapigua é uma viagem que fica entranhada na memória. Permanece viva dentro do ouvinte."
Tiago Carvalho, 02.2004 Bodyspace.net
I was born in Vigo on 1979. I started recording my work at the beginning of 1998, using self-taught methods and without prior musical formation. In 2003 was released my first work, Pigua, Megapigua, published by Crónica Electrónica record label (Portugal).
I composed music for the shortfilm Paranoias from the Galicia Cinema School on 2003. I made, collaborating with Sumugan Sivanesan, the video Goebbels Pupils published by Crónica Electrónica and selected for contest by the 15º International Electronic Art Festival VIDEOBRASIL (Sao Paulo, 2005). I was between the selected ones of the first radio art contest En el Aire, of the Hablar en Arte association (Madrid, 2005). In 2006 I returned to appear between the five selected of this contest with the piece Chernobil, mon amour! I was also between the artists selected by Hablar en Arte association for the In Sonora III and In Sonora IV soundart show (Madrid 2007 and 2008). My piece Terror Film for Radio was broadcasted by the portuguese Rádio Zero as part of the biannual radio art festival RadiaLx 2008, in Lisbon. My videoart piece called Physikos, Aphysikos has been exhibited by Art Tech Media (Puerto de la Cruz of Tenerife 2008).
Currently producing the fortnightly radio program Radio Mil Colinas for the Rádio Zero. You can download the podcast here.
I played at the Contemporary Art Museum of Vigo on 2003 and 2007; also in Sonar and LEM festivals (Barcelona 2004), Maus Hábitos club (Porto 2004), Fine Arts Faculty (Pontevedra 2005) NASA club (Santiago de Compostela 2006) Spanish Cultural Centre (Montevideo 2007), Concerts in the LIMb0
(Modern Art Museum, Buenos Aires 2007), Galery DF (Santiago de Compostela 2008 and 2009), ArtEx Sonora showcase (Contemporary Art Museum Unión Fenosa, A Coruña 2008), Club Le Larraskito (Bilbao 2008), Experimentaclub festival (Madrid 2008), Cervantes Institute (Berlin 2008), MEM festival (Bilbao 2008)
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