PROMEHEUS TARKAMPA (1818-2018)

Tarkampa Utopías Sonoras

IMG_8828-crop.jpgTRES RITUS MARINS  – Utopías  sonoras y rituales

En esta época de duras realidades y condiciones sociopolíticas adversas, que también afectan las artes y la música,  aquí con Tarkampa pensamos con el futuro. Nuestras músicas y nuestros sonidos nacen de la imaginación de espacios humanos diferentes donde la convivencia tome formas mas armónicas, fluidas y balanceadas.  Observar las cosas desde la distancia, desde espacios fuera de la geografía y del tiempo, nos ayuda en aceptar los límites de la realidad cotidiana para volver a ella con nuevas fuerzas.

En algunos de nosotros se ha despertado una y otra vez mas el deseo de volar  alto, de vaporizarnos, o sencillamente de crear espacios utópicos donde nuestras vidas tengan mas sentido.  Desde el otro lado (By The Other Side, titulo del anterior trabajo de Tarkampa) podemos observar lo que pasa aquí en este mundo, y volver otra vez  a la realidad cotidiana de modo nuevo, con una visión mas clara.

En las épocas mas obscuras o de profunda transformaciones como esta, varias veces se presentaron ocasiones como esta. Si pensamos con la literatura fantástica (por ej. Edgard A.Poe) o con el mas reciente  movimiento de la psicodelia europea y del kraut rock alemán, se trataba de huidas hacia lo fantástico y lo abstracto.

Las Letras. Lo de Tarkampa es un mundo fuera del tiempo y del espacio que contiene  y permite muchas posibilitadas poéticas. Las letras de muchos de nuestros temas son poemas, antiguas metáforas trascendentales, o fragmentos originales  que se inspiran con la poesía de William Blake, de Jim Morrison y otros. Vestidos de una sonoridad electrónica arcaico-futurista nos hablan de eternas preguntas sobre la vida, y alternativamente indican contradicciones que afectan nuestras vidas .

La música. Mucha música del pasado y también del presente tuve y tiene el poder de crear estos espacios antes inexplorados. Se trata de sonidos y voces, de modulaciones y letras que nos pueden envolver y  incluido traspasar, como en un rito chamán.  El sonido tiene este poder, porque a diferencia de las imágenes se puede percibir en el espacio sin movernos, o sin mover nuestra mirada. El sonido es omnidireccional  y si cerramos los ojos, nos puede transformar profundamente. Tiene el poder de acercarnos a la utopía mas que otros canales de comunicación (desde las imágenes fijas o en movimiento hasta el movimiento corporal, para no hablar obviamente de las expresiones  verbales, poéticas y literarias). El sonido que nos acerca a la utopía es atemporal, y parece surgir de un sitio fuera del mapa y de la historia. Puede contener trazas humanas, y por esta razón utilizamos las voces (con y sin letras) en nuestra música, a recuerdo de la soledad humana en el universo, del grito del animal en la naturaleza y del canto efímero de los pájaros.

Os esperamos en este espacio utópico pero real a la vez, hecho de vibraciones sonoras originales, donde por algunos momentos podemos volar y existir de otra forma gracias a las voces, la percusión y los sonidos electroacústicos de TARKAMPA, con Guillermo Gonzales y sus voces múltiples , Sbibu el Brujo y su percusión étnica sin tierras,  y Riccardo Massari con su Tarcordium, sus electrónicas espaciales y sus composiciones. Este nuevo álbum a punto de llegar se titulará TRES RITUS MARINS, y contiene nuevas creaciones realizadas durante la fructuosa residencia artística de la banda en Sardegna (Italia) durante el verano de 2016. Entre nuevas piezas y improvisaciones aparecen dos versiones nuevas de dos piezas que el público de Tarkampa ha siempre apreciado mucho, Anima y A piece of real  (álbum A Cycle of Vision). Esperamos las desfrutarais.

Colectivo Tarkampa  en colaboración con OFFICNA55, photo by Yasemin Öneren

Enero 2017, Barcelona

What Music? TARKAMPA!

 

Sometimes friends and  people ask me what music I am busy with. This year I’ll be fifty (!) and i make music since I was a small kid, so approximately since 35 years. I passed through many genres ’cause I was studying and playing with bands at the same time.  Musical life took me in many different sound-places, but I somehow remained the same, in relation to sound and rhythm. My biggest influences were of many types from rock to contemporary classical and ambient electronic, with a special interest also for poetry, theater and cinema.

TARKAMPA is now for me a recipient for all this influences, running away from the main common areas  of music classification. This makes the project very fresh all the time. Here I am not a classical composer, a pop artist, a free improviser, a poet, an electronic music artist or a songwriter, but I am all and none of these at the same time.

I started with in a bar in Barcelona with this name (TARKAMPA), singing songs accompanied with electric guitar and looper-pedal, and making a new show every each Sunday night, for 4 years or so. But I was coming from the “art” scene of galleries, contemporary conceptual performance, and other linked fields of action. I was bored by intellectualism and luck of wide sight in the art world.

I discovered that in the so called popular music there is so much to be done, like in any other genre. And I feel we are on a seminal turning point. All categories of music and spectacle, like the entire western culture itself, are passing through a deep crisis, and I think it’s the right moment for reinventing not only the sound , but also the way to communicate with people and consequently also the way of making “art”. My instrument Tarcordium has been a tangible consequence of this attitude, together with my continuos investigation in electronic music and en vocal extended tecniques.

This is the main thing. Music and art is  a very important part of real human communication. If you communicate in a fresh and positive way, the necessary contents will be vibrating of their own life. And we can then forget any intellectual recipient.

So, I am looking forward to meet more and more friends and people who wanna share this sentiment, and move on, out of the stereotypes of love, of music, of relationship and finally  out of the stereotyped models of life.

Riccardo Massari S.  (founder of TARKAMPA)

More comments of our activities with TARKAMPA in the future – stay linked, and thanks to all you friends for the lovely and kind  support in these years!

http://tarkampa.bandcamp.com/

TarcordiumTW1A1968 copy.jpg

 

(Photo by Fran Saéz, Barcelona)

What Music? TARKAMPA!

 

Sometimes friends and  people ask me what music I am busy with. This year I’ll be fifty (!) and i make music since I was a small kid, so approximately since 35 years. I passed through many genres ’cause I was studying and playing with bands at the same time.  Musical life took me in many different sound-places, but I somehow remained the same, in relation to sound and rhythm. My biggest influences were of many types from rock to contemporary classical and ambient electronic, with a special interest also for poetry, theater and cinema.

TARKAMPA is now for me a recipient for all this influences, running away from the main common areas  of music classification. This makes the project very fresh all the time. Here I am not a classical composer, a pop artist, a free improviser, a poet, an electronic music artist or a songwriter, but I am all and none of these at the same time.

I started with in a bar in Barcelona with this name (TARKAMPA), singing songs accompanied with electric guitar and looper-pedal, and making a new show every each Sunday night, for 4 years or so. But I was coming from the “art” scene of galleries, contemporary conceptual performance, and other linked fields of action. I was bored by intellectualism and luck of wide sight in the art world.

I discovered that in the so called popular music there is so much to be done, like in any other genre. And I feel we are on a seminal turning point. All categories of music and spectacle, like the entire western culture itself, are passing through a deep crisis, and I think it’s the right moment for reinventing not only the sound , but also the way to communicate with people and consequently also the way of making “art”. My instrument Tarcordium has been a tangible consequence of this attitude, together with my continuos investigation in electronic music and en vocal extended tecniques.

This is the main thing. Music and art is  a very important part of real human communication. If you communicate in a fresh and positive way, the necessary contents will be vibrating of their own life. And we can then forget any intellectual recipient.

So, I am looking forward to meet more and more friends and people who wanna share this sentiment, and move on, out of the stereotypes of love, of music, of relationship and finally  out of the stereotyped models of life.

Riccardo Massari S.  (founder of TARKAMPA)

More comments of our activities with TARKAMPA in the future – stay linked, and thanks to all you friends for the lovely and kind  support in these years!

http://tarkampa.bandcamp.com/

TarcordiumTW1A1968 copy.jpg

 

(Photo by Fran Saéz, Barcelona)

BIRD IN THE CAGE

 Bird In The Cage    (madrigals and soundscapes:   2013-2014 voice, electronica, percussion, video)

TAR KAMPA offers set of works in a new style: Bird In The Cage combines soundscapes and chant. Riccardo Massari  for this new Tar Kampa format, takes advantages from his advanced composition background, using real time electronic synthesis and sound sequencing. The poetic chanted  elements seek to carry the intensity of  the Early Madrigal, melted with subtle folk melodies, marked by the use of falsetto. Analog sound, with original programming and delay feed-back techniques, takes the show to a field of psycho spatial atmosphere also fed by electric percussive lines. The video, slow and suggesting, prepared by Dripp, plays through  all the duration of the performance.

TAR KAMPA ci offre una serie composizioni di stile e formato nuovi. Bird In The Cage é una combinazione di paesaggi sonori e brevi canzoni (madrigali).  Riccardo Massari  per questo nuovo assetto di Tar Kampa, si avvantaggia del suo retroterra piú sofisticato di composizione, avvalendosi di sintesi sonora in diretta e di registrazioni di paesaggi sonori.  L’elemento del canto riprende l’intensità degli antichi madrigali, mescolati con melodie folk e caratterizzati dall’uso del falsetto, i testi sono originali. Ai suoni analogici, con tecniche di feed-back elettronico, e alle percussioni modulate e sottili di Francesco “sbibu” sguazzabia, si unisce il video, lento e suggestivo, prepareto da Carlo Sedeño, per un concerto visivo di una cinquantina di minuti.

Tar : synth & voice, Carlos Sedeño : video composition  – Sbibu Francesco Sguazzabia, wavedrum  percussions

a poetic exept from “Navigator” (English version of ANIMA)

(…) The day I will arrive
I will meet again
with ancestors and future astronauts
with unfulfilled thoughts
with blossoms and gems
and faded flowers

The day I will arrive
I will melt again
with the waters of all the fountains
the tears of all the children
that we have been
and we will come again
   in the infinite sky, I will be athomized
   in possible colors and flower-dust

upcoming dates to be confirmed and announced for a small summertime test-tour  (Italy, Switzerland, France, Slovenia) – recording session winter-spring 2013.

Confirmed 3-8-2013 a first premiere with sbibu on wavedrum at Red Zone , Italy.

MEDIAS:

to hear a soundscape reference atmosphere listen here

[soundcloud url=”http://api.soundcloud.com/tracks/37563797″ params=”” width=” 100%” height=”166″ iframe=”true” /]

in the slideshow: some frames of the video work by Carlos Sedeño .  See videos at: www.carlsed.org