October 31, 2020

A dangerous trap called Macromassa | Culture

A dangerous trap called Macromassa | Culture

"Little is the virtue of the mass," said Thoreau. And it must be true, according to the stubbornness that the general consensus has dispensed with the stubborn virtues of that other massive accident baptized Macromassa. During 42 – those that this binary cell has been active since its debut in 1976, Darlia Microtónica, one of the first Spanish independent editions-, the work of Juan Crek and Víctor Nubla has not transcended extramuros of that limited and exclusive preserve that is that of experimental music. Everything is to safeguard freedom.

Despite that popular ostracism, in the current underground national his name resonates with authority. Young generations are rediscovering the lost memory of the avant-gardes emanated in Barcelona while the anarcho-january illusion was shattered and punk was spreading, in which Macromassa would be so fundamental. On the other hand, these have never stopped being and being, which poses a paradox. Producers of electronic industrialism, of polypoetry, of improvisation and noise, but above all of doing whatever they want, Macromassa are currently debating under the weight of a legend that however does not guarantee the continuity of its production. S

It happens there (Discmedi), his latest work, has been financed by "a lost fund" an admirer of the duo's career, who does not seem to care that "only a few copies are sold among the four friends on duty," Crek confesses. Neither does the Nubla vestments tear. "There are hardly any cases of someone paying you for doing what you want and on top of that you get benefits. But the disc is the disc, and today even sound costs money. The important thing is that the investment is recovered and whoever may be interested may have it. In addition, the edition is limited enough to prevent anyone unprepared from falling into a trap as dangerous as listening to a Macromassa album. "

With thirteen albums on their ribs and no little experience in surviving precariousness, Macromassa weathers the current without being dazzled by the postmodern claim to the scene that co-starred in the 70s and 80s of the last century. "Is that a claim that now nothing happens and we must feed on something that really happened, something that although naive was not imposed?" Asks Crek, welcoming the doubt, "this may also be our imaginations. " His partner is sharper. "It is very healthy that later generations have been interested, although the current formats can turn the past into a stereotype, but it will not be the only stereotype (or stereotype) of the moment, for sure, we live in a topical (or typical) universe. It seems very good to have a past and a memory, but I believe that no one has surpassed that generation, because that generation did not achieve anything in particular. It's good to know what happened before, but it does not make any sense to mythologize it. "

It does not seem that the present experimental music has options to achieve anything concrete. "Experiment", clouds Nubla. "It is to try things that have not been done before, to call experimental things that are not the fruit of that, does not mean they are experimental, only that they are called like that." Experimental "is now a cliché. to have a language to experiment with, Macromassa has created his own over the decades. "It has not been, the meaning of experimental, the only thing that has been transformed during those periods, as Crek points out:" A social level has confirmed the establishment of fascism in most of the governing bodies of most states, either veiled or uncovered, and the appropriation by mafias of all kinds of the achievements of humanity, to profit by dominating to human beings. "

Ah, what a surreal world! "The current world is not surreal," Nubla corrects, "neither relative nor unusual, it is simply a massacre perpetrated by people who feel fulfilled making life impossible for others and also want to be noticed because they have a regrettable problem of self-esteem . In the world, right now, you compete for power and having, not for knowledge and imagination. "In that competition, advanced music, like that of Macromassa, has the power to lose. Industry and consumption command more than ever, and according to Nubla: "When there are millions of people who hear the same thing and spend the same, they will hardly be interested in something different. As for the industry, nothing else would be missing, where boss (I mean cliché) boss does not send sailor (I mean something different). That is their contribution to culture in recent decades. As for the form of consumption, if the people of our beautiful western world had been fed in their childhood the way they now consume music, they would not have survived the first years of growth. "


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