The innards of machine just need a bit of banging around. That echo like a reverberation that wont quit. Unless the gears start working. So test every last cog. Plug them strings like they’re about to snap. As if resonance has no being but space. Boundless energy wrapping around sound waves becoming thicker sound waves absorbing nothing by a frequency: NOT EVEN AIR. Acoustics like breathing heavy. Full-bodied. BERIMBATRONICS.
On the Berimbau, PAT O’REILLY gives “live electronics processor,” MAX ALPER a run for the hell of it. I’m talking, BERIMBATRONICS is straight up horror music. But not one that is of a typical nature. This ain’t trying to jump out and scare you. There’s nothing even BROODING about BERIMBATRONICS. The collaboration between PAT O’REILLY + MAX ALPER presents almost something their both trying to sort out, but together.
Take BERIMBATRONICS as a practice in “the artist(s) is(are) present.” Such as both PAT O’REILLY + MAX ALPER are both functionally heard within the piece, and equally presenting their mutual SELF. Conjoining the electronics with such a primitively constructed instrument as the Berimbau (in comparison to microchips) is a brilliant way of trickling listeners’ spines without having to frill some terror. As well, each artist is present in their own way, sorting out their personal mentalities, drawing out the best and worst, artistically displaying all feelings in sounds. It’s penetrating. It’s a black screen in the theater. It’s BERIMBATRONICS by PAT O’REILLY + MAX ALPER.
More about: Max Alper, PAT O'REILLY
