with her trio, haití!
amanda irarrazabal is a bassist, bass player, singer, improviser and composer originally from santiago, chile and currently based in buenos aires. in 2002 she started her musical career, exploring various genres (classical music, experimental, jazz, rock, tango and latin american music), she turned to free improvisation and original music as her primary musical vehicles.
cecilia lópez is a composer, musician and instrument builder from buenos aires. her work explores the boundaries between composition and improvisation, as well as the resonance properties of diverse materials through the creation of non-conventional sound devices. she studied composition with carmen baliero and gustavo ribicic. she holds an mfa from the milton avery graduate school of the arts, bard college ny and is an ma candidate at wesleyan university in composition (2016).
cecilia quinteros is a self-taught, improvising cellist from buenos aires. since 2007 she has co-created many experimental music projects in argentina and worked with theatre, visual artists, contemporary and butoh dancers. in 2013 she was invited by the danish record labels ilk and barefoot records to perform several concerts at the copenhagen and aarhus jazz festivals. her current projects include ruido², YAS, rhabdoviridae, eriza, la corporación, HAITI, and a dúo w/ alex elgier.
rerum novarum consists of five pieces that were recorded live on august 24, 2017, in buenos aires. a freely improvised meeting of synthesizer, bass and cello. melting conversations. rumbling pulse. pulsing rumbles.
Hiken!, een vrije improvisatie van bijna een half uur door het Argentijnse duo Alex Elgier en Cecilia Quinteros, bevat mooie passages.
kind words courtesy of louis pattison. the wire 399. may 2017.
It starts with a shouted “Hiken!”, and the Argentinian duo Elgier and Quinteros immediately let fly. He plays piano, she plays cello, and together they make more racket than most quartets, their chaotic improv conducted with a jerky energy that verges on the comedic. Explosive moments are balanced by subtler passages where the pair hunker down, working microscopically at their instruments with the surprising grace of a contortionist folding himself into a suitcase.
A different kind of trickery is at play on Edinburgh musician Lauren Sarah Hayes’s Manipulation. Her compositions are an exercise in unpredictability, the product of tiny circuit board ecologies that spit out malleable loops directed – albeit only in the most general sense – by outside input. Luckily, the sense of play extends to the finished product, its skittering melodies and clip-clopping rhythms suggesting a mischievous intelligence emerging from this web of wires.