mécanosphère
Psychedelic / Disco House / Death Metal
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"Du Mental pour les Moteurs"
Centro Comercial Stop , Porto / Portugal,
Mexico
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13906
Last Login:
10/9/2008
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| mécanosphère: General Info
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| Member Since | 9/24/2006 | | Band Website | soopa.org | | Band Members | a Massive of :
 | | Influences | Vince taylor, Nyarlathotep, Hildegarde de Bingen, International Necronautical Society, Train to Doomsville, Cargo Cultism ( Prince Phillip Cult branch), Martin Mantra, Mexique Général, Dead Slow, Alexander Graham Bell & Watson, Buzz Aldrin, Black Sabbath, Flat Earth Society, Carlos-Carlos, Scratch Perry, Bass Terror, Dub Syndicate and :
 | | Sounds Like | cosmo-sonic doom, 50 years after Sputnik 1!
 | | Record Label | Soopa, Loop Recordings, Raging Planet, Radon | | Type of Label | Major |
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BEASTBOX@SIBERIA
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***Sputnik Day***
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| About mécanosphère |
Trans-national ( france - portugal- usa ) sound & transmental poetics unit headquartered in Portugal / multiple drumset and recycled machines and voice and live manipulated sonics for a feast of bass heavy dub, ruins of hip hop, chaos rock, jazz trash and brute noise & drones.
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" Into the lands of civilisation came Nyarlathotep, swarthy, slender, and sinister, always buying strange instruments of glass and metal and combining them into instruments yet stranger. He spoke much of the sciences - of electricity and psychology - and gave exhibitions of power which sent his spectators away speechless, yet which swelled his fame to exceeding magnitude. Men advised one another to see Nyarlathotep, and shuddered. And where Nyarlathotep went, rest vanished; for the small hours were rent with the screams of a nightmare. "
“ For the traditional perspective, technology is an extension of the body. It is a functional sophistication of the body ( and “cyberpunk” is no more than an upgraded continuation of this traditional perspective).Yet, following the baroque and apocalyptic version of JG Ballard’s novels, Technique is a deadly deconstruction of the body – not anymore a functional media but an extension of death – dismembering and disfiguration : not in the sense of the pejorative illusion of a “ loss of the unity of the subject” ( the psycho-analytic version) but in the vision of a body abandoned to all the possible symbolical injuries existing or yet to come. A body undistinguishable with technique itself, in all its dimensions of violation and violence, through the constant and automatic surgery it deploys : incisions, excisions, scarifications, intrusions, holes, fracture, repetition…Our music, somehow, tries to capture and sediment dynamically the free and constant circulation of the Accident ( the one primary and heraldic figure of the kinetic acceleration of Technique looped on itself : irreversible banality of the abnormal and death ), as well as it tries to scan the fantastic constellation of the sinister technologies haunting the landscape (…) “
“ Na perspectiva clássica, a tecnologia é o prolongamento do corpo. É sofisticação funcional do organismo. Inversamente, no seguimento da versão barroca e apocalíptica dos romances de JG Ballard, a técnica é desconstrução mortal do corpo - já não "media" funcional mas extensão de morte -, desmembramento e desfiguração, não na ilusão pejorativa de uma unidade perdida do sujeito, mas na visão de um corpo entregue às feridas simbólicas, um corpo confundido com a técnica na sua dimensão de violação e de violência, na cirurgia selvagem e contínua que exerce: incisões, excisões, escarificações, buracos... A nossa música tenta capturar as figuras incessantes da circulação do acidente (figura elementar, irreversível, banalidade da anomalia e da morte) e a fantasmagoria das tecnologias sinistras que vagueam pela paisagem”.(…)
Enfants, Alexander Graham Bell et son frère Melville fabriquèrent un automate parlant dans lequel des soufflets et une gomme faisaient office de poumons et de langue ( lungs and tongue) . Il pouvait dire - " MA BELL" ( qui donna son nom a la premiere grande société de Téléphones) - un mot que leur propre mère ne pouvait pas entendre : elle était sourde. Cherchant à faire une version plus vivante de leur machine à parole, les frères BELL ( Cloche, Sino) tuèrent le chat de la famille et retirèrent son larynx. Alexander Graham passa rapidement a des morceaux humains, empruntant une oreille morte à une morgue. Quelques années aprés, il ramena une autre oreille moribonde, avec, attachée à elle, la femme sourde qu'il allait épouser, MABEL. Melville Bell se maria aussi avec une femme nomée Caroline Ottoway ( littéralement : " Canal Auditif"), avec laquelle il eut, et perdit un fils nommé aprés son frère mort et celui d'Alex, Ted. Puis Melville lui même mourut -mais, avant qu'il ne meure, il fit un pacte avec Alex : celui qui survivrait à l'autre construirait un dispositif capable de communiquer avec les morts. D'où le téléphone. l'oreille prothétique que nous portons dans nos poches.
DISCOGRAPHY :
" Limb Shop" ( Soopa, Radon, Raging Planet, Base Recs.) 2006 ///
" Bailarina " ( Ind.Recs), 2004///
" Mécanosphère " ( Loop Recordings), 2003 ///
" Lobo Mau E.P." ( N_), 2001///
GRAND MASSIVE version:
: LINE UP 07 ( + / - 2 / 3) :
Benjamin Brejon - Drum, Imitation of Drum, Generator, Loop Recorder
Jonathan Hhy - Instrument of Instrument, Other Instruments, Dubs
Adolfo Luxuria Canibal - Throat
Henrique Fernandes - Electric contrabASS
Gustavo Costa - Drumz -
Frederico Strainchamps Duarte - Archives -
Diogo Doria - Speaker -
Ewen Chardronnet - Radars, Interceptions, Satelite
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