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a sea without a port

by Joseph Sannicandro

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Oscar Coyoli
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Oscar Coyoli La delicadeza de las calles.
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1.
I dreamt I was dreaming and I came home too late 02:16
2.
en el futuro todas las rutas de México terminarán por llamarse Insurgentes 10:42
3.
the spell of a useful illusion 04:32
4.
a halo is antiquated 04:07
5.
Cafe Quito 00:51
6.
lost insignia 02:44
7.
non-aerial cartography 03:55
8.
a sea without a port 06:24
9.
a second Venice (the floating empire of the Aztecs) 03:05
10.
this city is incalculable 01:41
11.
Ivan Illich 01:37
12.
el tratado de Guadalupe Hidalgo 03:57
13.
Los Niños Héroes 06:10
14.
written history, white light 02:46
15.
tragic concision of the dream 03:18

about

Notes from the artist
[...] Mexico occupies a complicated place in the American popular imagination. As a tourist destination, Mexico evokes beautiful seaside resorts and great food, friendly locals and an opportunity to lower one’s inhibitions. Then there is the other Mexico, the post-colonial Mexico, the Mexico rocked by the effects of NAFTA, of sprawling slums and terrible poverty, of colonized peoples and traditional ways of life obliterated by the violence of multinational corporations and agricultural subsidies. But there is also the revolutionary Mexico: Benito Juárez, Pancho Villa, the Mexican Muralists, the Zapatistas, organized indigenous resistance, the many courageous Campesinos, workers, and students with a rich tradition of fighting injustice and on behalf of the oppressed. As our southern neighbor, there is the uncomfortable fact that so much of what is now the USA was once Mexico, the forgotten/repressed/unknown fact that much of the Mexican-American war was fought because Mexico had outlawed slavery. The fact that European settlement was forced on the indigenous peoples. Bigots and TV pundits cultivate fear of “illegal” immigrants, yet ironically Mexico has long been perceived as a place where American ruffians and outlaws could flee to escape justice. [see more at www.galaverna.org]

credits

released December 21, 2015

Most of the recordings were made around Mexico City (especially Roma, Condesa, Zona Rosa, Centro, Tepito, San Miguel Chapultepec, Benito Juárez, Coyoacán, Xochimilco, Tenochtitlan, the Airport, but also many other places)

Made with: TASCAM DR-05, iPhone 3GS, a cheap portable tape player, Tape loops, SP-404, Memory Man looper, Effects pedals (chorus, echo, fuzz, freeze), Technics tape deck, and Mackie 1202 mixer.

Thank you: Ana Lucia Soto, Sergio Su, Marco de la Torre, Daniel Castrejón and Umor Rex, Jorge Amigo, Héctor Ortiz and his whole family, Myrdal SoundLAB, Cam and Alex and their whole crew, Grant Cogswell at Under The Volcano Books, Julian Bonequi, Audition Records, and everyone else who helped us out and showed us around or gave us advice. And to Roberto Bolaño, Juan Villoro, Leon Trotsky, Frida Kahlo, Francis Alÿs, Alejandro González Iñárritu, Octavio Paz, Rufino Tamayo and all the artists and writers who introduced me to DF long before I physically set foot there.

Photo cover: Sara Mericle

www.galaverna.org
All content under CC license, please visit our website.

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Galaverna approaching post-digital sounds image

Galaverna approaching post-digital sounds Venezia, Italy

Galaverna is a platform for multimedia, sound-and-art productions based in Italy that mainly operates in the area of electroacoustic and experimental music with a specific referral to the landscape/soundscape aesthetics. Galaverna comes as a sister label of Laverna a net label active since the early '90s in creating multimedia productions and live performances that combine music, visuals and words ... more

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