Ivy Walker - Ivy Walker
May_2015
Lucas Stamford: electric guitar, computers.
Rômulo Moraes: computers, MPD.
All songs by Ivy Walker, except “Love Never Felt So Good” by Michael Jackson.
Cover art by andsor.
@ Cloud Chapel Recs
Press:
Vice Brasil, Sep 2015
Noisey, Dec 2014
PopMatters, Nov 2015
Revista Vinil, Dec 2015
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Argonauta - Reagan
Nov_2016
@ Self-released.
May_2015
1. Down Dog 02:24
2. Água 04:53
3. Love Never Felt So Good 04:30
4. Fripperama 06:05
5. Temor & Tremor 03:32
6. Condensar 01:08
7. Liturgia 04:06
8. Si Te Quiero 03:35
9. Sunflower 02:19
10. Planetista 03:56
11. Takayama Ukon 06:05
12. Anúncio 00:18
Lucas Stamford: electric guitar, computers.
Rômulo Moraes: computers, MPD.
All songs by Ivy Walker, except “Love Never Felt So Good” by Michael Jackson.
Cover art by andsor.
@ Cloud Chapel Recs
Press:
Vice Brasil, Sep 2015
Noisey, Dec 2014
PopMatters, Nov 2015
Revista Vinil, Dec 2015
___
Argonauta - Reagan
Nov_2016
1. esmalte 01:05
2. urca 01:04
3. ode à linda odete lara 01:03
4. papel gelatina 03:45
5. park filadélfia 00:36
6. baratas & outros vestígios extradimensionais 00:40
7. casa do mario 00:24
@ Self-released.
Luz Fermenta / Hileia
Jul_2020
"In 'Luz Fermenta / Hileia', the idea was to borrow from specific references from Brazilian erudite music. I used as main sampling material three symphonies from the canonical constellation, representing significant periods of its history: Carlos Gomes’ 'O Guarani', an opera that tried to glorify the indigenous people as a sort of prime Brazilian archetype to be followed; Heitor Villa-Lobos’s 'Bachianas Brasileiras', a modernist waltz that incorporated elements of Brazilian folk and concrete music to the influences of Bach and Rachmaninov; and Hans-Joachim Koellreutter’s 'Três Peças Para Piano', a serialist work from a musician who is now known mostly as an avant-garde teacher. The only rule was that these three pieces needed to be in use as source material throughout the whole work; although I could cut and modify them however I liked, these base-samples needed to be 'playing' at all times.
The goal I had in mind was, through editing, twisting, and contracting these already established works, find other aspects of the aesthetic forms they entail and that are hidden within them – to 'extract' new meanings and symbols from them forcefully. This was backed up by a belief that the work of art is equivalent to a 'world'. There is an intensive space within the work of art, that we imagine through the relations it traces with fictional elements we perceive in them (shapes, densities, movements, proportions, memories, colors, tastes, etc). With 'Luz Fermenta / Hileia', I tried to rework these pieces as an exploration of the aesthetic worlds they hold, but that are currently unclear, like occult faunas and ambiences, to try to find out more about the Brazilian ethos while also building a new world, a pop world, from them.
When I started 'Luz Fermenta / Hileia', I thought this deconstruction would lead me to express a feeling of forest and of Unknownableness that could be associated with the agenda of early Brazilian romanticism or the driving energy of Tropicália. What I found out while making the collage was much less optimistic and much more macabre. The songs held phantasmagoric sceneries, voices from a haunted past, filled with resentment, trauma and death. 'Luz Fermenta / Hileia' as a title became, then, even more fit, because while 'luz fermenta' means 'fermenting light', which is what seems to be happening materially in this track, 'Hileia' is an alternative name to the Amazon jungle given to it by Alexander von Humboldt and derived from 'hyle', the Greek word for formless substance or matter; so it is both a failed name for the forest, a decadent name, and a mystical name. Or, as writer Euclides da Cunha would put, it is an eerie name: the name of a lost promise."
@ Self-released.
This piece won an open call award to be financed by the Secretary of Culture and Creative Economy of the State of Rio de Janeiro. It was originally developed as final project for the seminar "Essay Events", taught by Rachael Rakes at The New Centre for Research & Practice.
___
Other sounds:
Uruguai, Ivy Walker, 2017
Nancy's Astrology Diaries, Reagan, 2016
Blue Velvet, Palinopsias, 2015
Tallin's Danse Macabre, Babality, 2014
Salinity EP, Palinopsias, 2013
Jul_2020
"In 'Luz Fermenta / Hileia', the idea was to borrow from specific references from Brazilian erudite music. I used as main sampling material three symphonies from the canonical constellation, representing significant periods of its history: Carlos Gomes’ 'O Guarani', an opera that tried to glorify the indigenous people as a sort of prime Brazilian archetype to be followed; Heitor Villa-Lobos’s 'Bachianas Brasileiras', a modernist waltz that incorporated elements of Brazilian folk and concrete music to the influences of Bach and Rachmaninov; and Hans-Joachim Koellreutter’s 'Três Peças Para Piano', a serialist work from a musician who is now known mostly as an avant-garde teacher. The only rule was that these three pieces needed to be in use as source material throughout the whole work; although I could cut and modify them however I liked, these base-samples needed to be 'playing' at all times.The goal I had in mind was, through editing, twisting, and contracting these already established works, find other aspects of the aesthetic forms they entail and that are hidden within them – to 'extract' new meanings and symbols from them forcefully. This was backed up by a belief that the work of art is equivalent to a 'world'. There is an intensive space within the work of art, that we imagine through the relations it traces with fictional elements we perceive in them (shapes, densities, movements, proportions, memories, colors, tastes, etc). With 'Luz Fermenta / Hileia', I tried to rework these pieces as an exploration of the aesthetic worlds they hold, but that are currently unclear, like occult faunas and ambiences, to try to find out more about the Brazilian ethos while also building a new world, a pop world, from them.
When I started 'Luz Fermenta / Hileia', I thought this deconstruction would lead me to express a feeling of forest and of Unknownableness that could be associated with the agenda of early Brazilian romanticism or the driving energy of Tropicália. What I found out while making the collage was much less optimistic and much more macabre. The songs held phantasmagoric sceneries, voices from a haunted past, filled with resentment, trauma and death. 'Luz Fermenta / Hileia' as a title became, then, even more fit, because while 'luz fermenta' means 'fermenting light', which is what seems to be happening materially in this track, 'Hileia' is an alternative name to the Amazon jungle given to it by Alexander von Humboldt and derived from 'hyle', the Greek word for formless substance or matter; so it is both a failed name for the forest, a decadent name, and a mystical name. Or, as writer Euclides da Cunha would put, it is an eerie name: the name of a lost promise."
@ Self-released.
This piece won an open call award to be financed by the Secretary of Culture and Creative Economy of the State of Rio de Janeiro. It was originally developed as final project for the seminar "Essay Events", taught by Rachael Rakes at The New Centre for Research & Practice.
___
Other sounds:
Uruguai, Ivy Walker, 2017
Nancy's Astrology Diaries, Reagan, 2016
Blue Velvet, Palinopsias, 2015
Tallin's Danse Macabre, Babality, 2014
Salinity EP, Palinopsias, 2013