Francisco López is internationally recognized as one of the major figures of the sound art and experimental music scene. For more than thirty-five years he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. Destroying boundaries between industrial sounds and wilderness sound environments, shifting with passion from the limits of perception to the most dreadful abyss of sonic power, proposing a blind, profound and transcendental listening, freed from the imperatives of knowledge and open to sensory and spiritual expansion.
He has realized hundreds of concerts, projects with field recordings, workshops and sound installations in over seventy countries of the six continents. His extensive catalog of sound pieces (with live and studio collaborations with over 150 international artists) has been released by more than 350 record labels / publishers worldwide. He has been awarded four times with honorary mentions at the competition of Ars Electronica Festival and is the recipient of the Qwartz Award 2010 for best sound anthology. [Pedro Higueras, Sonom Studios]
Deleyaman – Fourth, Part One Label: Equilibrium Music – EQM026 Format: CD, Album, Digipak Country: Portugal Released: 2009 Genre: Rock, Folk, World, & Country Style: Modern Classical, Darkwave, Ethereal, Folk, Ambient
DELEYAMAN translate a sense of timeless spirituality into a contemporary and universal language. Hardly classifiable into a single genre, “Fourth, Part One” combines Darkwave with ethnic and ethereal elements.
Following the release of the album “3”, in 2006, over 25 titles were written and composed by DELEYAMAN. 11 of these compositions, entirely recorded, mixed and mastered in the band’s studio in Normandy, France, were presented as “Fourth, Part One”. The remaining material is set to appear later as “Fourth, Part Two”, a complimentary yet contrasting sister-release which followed in early 2011.
The overall mood of this album is different from their prior releases, yet the sincerity with which they continue to explore their art is a constant in DELEYAMAN’s work. Inspiration for the lyrics comes partially from the works of American poets E.A. Robinson, A. Hecht, R.W. Emerson, E.A. Poe, H. Crane and T. Stickney, but also from the Lebanese mystic poet Khalil Gibran. Most of the titles are sung in English, except for two tracks sung in Armenian and the track “Jardin”, sung in French, the words taken from the poem “Nous n’irons plus au bois”, by T. de Banville. The use of several languages by Beatrice Valantin and Aret Madilian, the two vocalists, has always been a distinct characteristic of the band, whose members all come from different backgrounds.
DELEYAMAN’s style, which to this day remains difficult to classify into a single genre, is further defined by the inclusion of the duduk, an Armenian wind instrument. More than simply adding an ethnic reference to their compositions, the duduk grants them a unique tone, emphasizing the ethereal and exotic qualities that allow the album to reach beyond the darker specter of alternative music from which the band originally derived. Through their art, DELEYAMAN translate a sense of timeless spirituality into a contemporary and universal language, carrying the listener into a mesmerizing world which still sounds comfortably familiar and close at heart. “Fourth, Part One” is presented in Digipak format, accompanied by a 32-page booklet.
Under exclusive license from TTO Records, U.S.A., for Europe.
Akauzazte es un grupo musical español de rock procedente del País
Vasco. Su música, tremendamente personal, es difícil de clasificar,
por lo que se les suele etiquetar como post-rock o noise. Se formaron en Azcoitia
(Guipúzcoa) en 1992 y su carrera ha estado asociada al Matadero de Azkoitia
(el Centro Social Okupado del municipio) y marcada por la autogestión.
En 1992 grabaron Maite Zaitut, su primera maqueta, con un cuatro pistas en
el Matadero. Su segunda maqueta fue Enlatatua, una casete que venía en
el interior de una lata de conservas. Siguieron grabando música sin llegar
a editarla, hasta que en 1998, la discográfica Esan Ozenki les editó
su primer álbum: Ur Gardenak, compuesto por material que el grupo había
compuesto y grabado desde casi su formación. A pesar del peso de Esan
Ozenki en el País Vasco, Akauzazte decidieron seguir en el camino de
la autogestión, editando X (2002), un mini-CD con tres canciones grabadas
en directo en su local del Matadero. En un paso más hacia la autoedición,
el grupo creó, junto a Carlos Desastre la editorial Compañía
de Sueños Ilimitada, en la que han publicado sus dos últimos trabajos:
Azalberritan (2004) y 04-5-1, Bera (2005), este último grabado en concierto.
Akauzazte han colaborado con grupos del underground vasco, bien participando
directamente en los discos (en Zebra de Anari o en Izkiriaturik Aurkitu Ditudan
Gurak de Lisabö) o bien remezclando los temas (“Satin Breakdown”
en Concrete Mixer, disco de remezclas del Backbone Ritmo de Atom Rhumba).
