SEMANA DE MÚSICA AVANZADA 2014
4ta EDICIÓN.

Fechas: 26 Febrero – 1 de Marzo

CCE/G – Teatro Nacional

4ta Edición

Costo general (eventos de día): Q10.00 (sin previa reserva al evento)

Festival Passport: Q200.00 preventa en Saúl E. Mendez, BPM Dj & Production School y CCE/G

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Listado de actividades por fecha

MIÉRCOLES 26 DE FEBRERO

Concierto de Inauguración Festival

Sala principal CCE/G

Electrodemia: La Electrónica con la Academia

Recital del Cuarteto de Violonchelos “Regina Celli”

I. Pamela Flores: Primera Pieza (20’)

II. Paulo Alvarado: Segunda Pieza (20’)

III. Mabe Fratti: Tercera Pieza (20’)

Hokusai Collective vs. FRAAEK (Presentación en vivo)

Alex Hentze, Federico Franco, Yvan Joint, Mabe Fratti, Fernando Franco,  Andres Duarte

Mario Santos: Visuales

Hora:18:00 – 21:00

Coctel de apertura (Dj invitado – G-Sus)

21:00 – 23:00

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JUEVES 27 DE FEBRERO

Exposiciones (activas de 2pm – 7pm durante 2 días del festival)

- Exposición de evolución de la tornamesa (BPM)

Circulo de ingreso – CCE/G

Una mirada a la evolución de las tornamesas en los últimos 30 años.

Desde equipos de acetato hasta controladores digitales.

- Espacio visual – Exposición mixta de artistas visuales nacionales y europeos

Invitados: Videocratz(ESP) y Mario Santos

Sala 1,2 y 3de exposiciones – CCE/G

Obras audiovisuales uno de los artistas más representativos de la región Mario Santos, así como el

Invitado especial de Barcelona, Videocratz.

Intervención Proyectos UV

Conversatorios

Sala principal CCE/G

1. La pertinencia de lo académico en la era electrónica
   1. Panelistas: David de Gandarias, Renato Maselli, invitado extranjero
2. Electrónica: Música pa’ bailar o… ¿algo más?
   1. Panelistas: Andrés Castaño, Básico 3, invitado extranjero
3. Académicos y electrónicos: la última generación
   1. Panelistas: César “Checha” Roulet, Pamela Flores, Mabe Fratti

Hora: 14:00 – 19:00

FIESTA VIVA FELIZ!

Sala de espera interior CCE/G

Hora: 19:00 – 01:00

Artistas invitados:

Plástico: Pableke

Dj´s: Byron Rod, Luisjo Prado, Mike Maraus, Luis Maier(HND)

Costo: Q30.00

Continuación de concepto VIVA FELIZ! con una exposición corta de uno de los artistas jóvenes más representativos del medio artístico, junto con Dj´s invitados.

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VIERNES 28 DE FEBRERO

Talleres

Sala principal CCE/G

1. Los errores más cómunes de un productor nuevo
   1. Panelistas: MNCVE, Antonio Ponce, Andres Duarte, Edu Pretz

1. Imprimiendo acetatos en una era digital
   1. Panelistas: Greg K(USA), JR Gonzo

1. Taller de masterización digital
   1. Panelistas: Robert Babicz(GER)
2. Conversatorio de cierre: En busqueda de una identidad musical
   1. Panelistas: Javier Payeras, Paulo Alvarado, Joaquín Orellana, Dj Fla-KO, Andrés Castaño

Cine de Música Avanzada

Sala secundaria CCE/G

Películas a proyectarse: PUSH PLAY PAUSE, BERLIN CALLING, MODULATIONS, ELECTRÓNICA EN GUATEMALA

Hora: 14:00 – 19:00

Noche experimental

Sala de espera interior CCE/G

Hora: 19:00 – 23:00

Bandas invitadas:

World Bridges on Fire, Introácido, Mashimon, MOZ

Costo: Q30.00

Un evento para disfrutar de los distintos lados que unen a la música electrónica con otros géneros más orgánicos y experimentales.

SÁBADO 1 DE MARZO

Lugar: Teatro Nacional (Plaza Principal)

Hora: 13:00 – 01:00

Costo: Q250.00 – en taquilla // Q200.00 – preventa (incluye entrada a todos los eventos del festival)

Escenario Principal:

ROBERT BABICZ(GER), GREG K(USA), ANDY MARTIN(MEX), ALEX HENTZE(live), ROD V(live)

Escenario Secundario:

HECTOR MORAN (SV), JR GONZO, CASTA, MNCVE, G-SUS, CHIRU, MARIANO SANTOLINO, THE

SWITCHERS

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Todo el evento será transmitido en directo a través de youtube y será proyectado sobre la fachada del edificio del Teatro Lux.

Medios y entidades de apoyo: Municipalidad de Guatemala, Dirección del Centro Histórico, Radio

Infinita, CCE/G, CUBEREC, Danzón Perez, Revista Kinima

INFORMACION CORTESIA:

http://www.sma502.com/

Rod V- The Truth That Lives Behind:

The Truth That Lives Behind:

Rod V, este año nos presenta su 1er álbum como productor titulado The Truth That Lives Behind.
Un disco que definitivamente hay que tenerlo en cuenta como de los mejores lanzamientos de este año el la región.

Cabe resaltar que el disco se lanzara en 3 formatos digital,Cd y una versión en vinilo que estará disponible a finales del mes de Diciembre en todo el mundo, Desde México a Japón pasando por Berlín.

Digital 5 de Diciembre+ Bonus track del album en bearport.

Tracklist:

1. Walking along
2. Where it belongs
3. Between us
4. Syncopated feeling
5. The Cadillac dream
6. Small Shades
7. Inner thoughts
8. Behind the door
9. Short Traces
10. The measurement of us

                                                                         Rod V- The truth that lives behind

                                                              

Arte y Diseño: JORGE LETONA

Rod V- The Truth That Lives Behind

Rod V - Hasta Aquel (FREE DOWNLOAD)

A free preview of Rod V Long Play "The truth that lives behind" out December 5th cuberec

Un track gratis previo al nuevo álbum de Rod V Titulado "The truth that lives behind"  que saldrá ala venta este 5 de diciembre , estará en formato digital,fisco y vinilo.

Rod V- Hasta Aquel (FREE DOWNLOAD)

JUAN ATKINS

Juan Atkins nació en Detroit a principios de los años 60 y es uno de los artistas clave en el desarrollo del techno detroitiano. Su nombre va estrechamente ligado al de los otros dos padrinos del techno de la ciudad del Motor, Kevin Saunderson y Derrick May. Su pasión por los sintes le llevó a modelar una nueva suerte de funk que más tarde se convertiría en el movimiento planetario más significativo de finales del siglo XX. Desarrolló su trabajo con diferentes alias que han trascendido la historia del techno como Cybotron, Model 500 oInfiniti. En los libros aparecerá como el creador del primer tema proto-techno junto a su compañero y amigo Rick Davis: Clear que data ni más ni menos que de 1982. El nuevo sonido parido por el binomio Davis/Atkins fue una mezcla del funk extraterrestre de Parliament Funkadelic con los ritmos del futuro de los alemanes Kraftwerk que tanto influenciaron el primer techno americano. Durante su longeva trayectoria artística ha producido tracks para su propio sello Metroplex y para otros labels europeos que enseguida se interesaron por el maestro, a destacar Tresor -para seguir su trayectoria en el sello alemán nada mejor que su catedralicia colección 20 Years Metroplex: 1985 – 2005- y el mítico label belga R&S donde editó álbumes tan entrañables como Classics, Mind and body o Deep Space . En España ha pinchado muy pocas veces y cada visita suya se convierte en notición -estuvo en el antiguo Spunny de sabadell y en la parilla de Djs en la edición del 2006 del festival barcelonés BAM- aunque su técnica no sea la más depurada de entre los Djs de la primera hornada de Detroit, pero es que a los más jóvenes les sigue dando mucho morbo tener delante a uno de los mitos vivientes de ese ritmo marcial que ha marcado a tanta gente.

WEB

James Holden has released hardly any music of his own since his first album, 2006's The Idiots Are Winning, but he hasn't been a wallflower either. Besides continuing to pluck new talent for his label, Border Community—which celebrates its tenth anniversary this year—he released one of the more deranged editions in the DJ-Kicks series with his 2010 entry of sun-blazed krautrock and pastoral electronica. But still, seven years since his last major body of work, it's safe to say that ears pricked up earlier this spring when word that emerged that he had a new album in the works.

And what a return it is. Named after a novel by William Golding, The Inheritors quickly bewitches with an audio headspace that's very much Holden's own. If there's anything in his past that bears the sonic identifiers on display here, it's the wobbly analogue bliss-outs of his DJ-Kicks rather than the neo-trance at the heart of The Idiots or his famous "A Break In The Clouds." Forged from single takes on his modular synth with no overdubs, The Inheritors has the blurry, delirious effect of an eighty-minute heatstroke. Holden's described some of the work here as a new kind of rave music, one that alludes to ancient English historical practices like pagan rituals, and there's certainly some kind of peculiar cosmic spiritualism linking these fifteen tracks.

Holden has long been associated with various incarnations of trance, and he's still after that state, though he uses a different approach. The album is a collection of analogue workouts that buzz and heave through a vast spectrum of sounds, which Holden stitches together into a work of astonishing coherence. Just listen to the way Etienne Jaumet's saxophone freakout at the end of "The Caterpillar's Intervention" gives way to cathedral-like tones and scrapes of static on "Sky Burial." Or how the ambient swirl of "Illuminations" decays into the half-submerged cracklings of "Inter-City 125." "Seven Stars," meanwhile, is the sort of 3 AM catatonia that might have graced an early Nathan Fake LP, but sounds here like it's been left to bake in the heat until its melodies seeped away. The title track takes these distorted blasts and elongates them into a kind of burnt techno that almost resembles Fuck Buttons.

All of these tracks eventually build toward the cathartic galaxy sprawl of "Blackpool Late Eighties." At eight-and-a-half-minutes long, it's by some stretch the record's longest track; it also sounds most like what fans of "A Break in the Clouds" might have thought Holden would sound like come 2013. It's peaceful and distantly serene, but with flickers of dissonance rubbing away at the edges. Those contrasting textures are part of what makes The Inheritors perhaps the year's most revealing and intriguing album yet.                           

                                                                  James Holden   

Nicolas Jaar Boiler Room NYC DJ Set at Clown & Sunset x RBMA Takeover

ESTAMOS DE VUELTA SEÑORES!!!!!!!!!!!!!!!!!!!!!!!!!!!!

No se puede hablar de la música electrónica, sin mencionar Detroit. DJs de la ciudad y de los productores nacieron el género que ahora llamamos techno. Detroit, sin embargo, siempre ha tenido una racha creativa, debido en gran parte al auge y caída posterior de la industria automotriz. En pocas palabras, Detroit es una ciudad de extremos, y su música refleja eso. Importancia de Detroit en la escena mundial de música electrónica se refiere a menudo en el pasado. Con la reciente aparición de Kyle Hall y otros pequeños productores de Detroit, sin embargo, está claro que una chispa se mantiene. Cuando nos fuimos, nos encontramos con una serie de artistas, con sus ojos (y oídos) firmemente establecidos hacia el futuro. Después de nuestra estancia allí, está claro que Detroit perdurará e innovar en los próximos años.

Me pareció Importante Compartirles esto, un poco de donde viene la música electrónica y sus corrientes.

Para la tercera edición de escenas reales, RA va a uno de los lugares más especiales para la música electrónica en el mundo: Berlín. Cuando el Muro de Berlín cayó en 1989, se convirtió en la banda sonora de tecno underground a la reunión entre el Este y el Oeste. En los últimos años, se ha convertido en un destino internacional para los ravers, un lugar barato para la fiesta con los clubes que son reconocidos en todo el mundo.

1. Techno se ha convertido en un negocio en el ínterin. Pero Berlín sigue manteniendo una credibilidad que otras ciudades no tienen. Para entender por qué, RA fue a la capital alemana ansioso por conocer su historia única y las razones de su pertinencia.

Nostalgia XXXI by CUBEREC

Nostalgia XXXI by CUBEREC se viene la primera compilacion del sello Guatemalteco Cuberec

Les dejo mas información sobre Semana de Música Avanzada. http://www.cube-culture.blogspot.com/ http://cube-culture.com/ http://sma502.com/ la nota anterior fue la Biografía del festival que en 2013 se llevara acabo la 3ra Edición en el Centro Histórico.

Biography of Nicolas Jaar

Nicolas Jaar was born in NY but quickly relocated to Santiago de Chile in the 90s only to come back to his birth place as a teenager. Haunted by Mulatu Astatke and Erik Satie, Nico started to make organic electronic music in 2004 at the age of 14. At 17, he made his debut with “The Student EP” on Wolf and Lamb Music with a remix by Seth Troxler who called him " one of the most talented minds dance music is about to see develop". At 18, he continued producing and played live at Club Der Visionaire and Arena in Berlin, at the Marcy in Brooklyn, at Communikey in Colorado and at Mutek in Mexico City. Now 19, studying at Brown University in Rhode Island, Nico has releases coming up on Circus Company, Wolf + Lamb and on his own label, Clown and Sunset (www.clownandsunset.com) of which he is the owner and founder. 

Biography of Oscar Mulero
The mid-eighties, Madrid. The Spanish capital is teeming under the grip of a musical explosion the likes of which has never been seen before. In the midst of that rabid swirl, a teenager, unknown and unassuming, enters a record shop to blow his savings on an album, Standing on a Beach, by The Cure. Little did he know that this was to be his first step on the long and difficult path to becoming one of the country’s essential djs.
He soon became a familiar face in the dj booths of the most exclusive underground clubs of Madrid, but the best was still to come and the first chapter was called New World, his first “proper” job.

New World sessions were soon all the rave and Oscar entered the studio for the first time to collaborate in the making of the club’s official record, Nuclear Zone. His was a backseat involvement, more as a sound advisor than as a producer. It wasn’t until later on that producing and deejaying became his livelihood. The record went on sale in 1993 and was quite a success, going on to get included in many of the national compilations of the time. 

The New World experience finally came to an end. But it allowed for the birth of THE OMEN, which for many was the ultimate club. The Omen was so successful it quickly became a tourist attraction, with clubbers from all over the country coming to Madrid every weekend to enjoy Oscar’s sessions. This led to a change in his career. He gradually moved away from being an important resident dj to a travelling one. He started to travel regularly, taking the Omen sound all over the peninsula. Firstly to the north, and then gradually, to all four corners of the country. It was the beginning of Oscar’s intimate relationship with airports and the road.

And so to the year 1996 and the third Sonar, a festival which had by then become established as one of the most important in the world. For the first time, the name of Oscar Mulero appeared among the list of national invitees, alongside others of his generation such as The Frogmen, HD Substance or Resonic. Sonar 96 served to officially confirm a whole new scene that had until then been in an embryonic state, but which was now being taken seriously for the first time and coming to be viewed as the seed of something solid. At Sonar 1996, Oscar held his own against stars of the stature of Richie Hawtin, Garnier and Mills. 
Outside Spain, people started talking about his unique technique and musical selection. Another mission accomplished. And so on to the next phase…

There was life after Sonar. The kind of recognition and support he gained as a result of his successes brought even more work, more travel and more big festivals, such as the Members of Mayday Festival, and culminated in 1998 in his first Session CD (the first CD of its type to be released in our country) entitled About Discipline and Education, released by the Catalan label So Dens, which was at the time closely linked to the organisers of Sonar. The musical selection was, for the time, very advanced and ground-breaking. A blend of the best of the dry, industrious sound of Birmingham, courtesy of people like Regis or Surgeon, and the best US sounds of the era, represented by the likes of Jeff Mills and Joey Beltram. The CD was an huge hit. One of the biggest-selling electronic music CDs in the country ever.

Already a well known name on the underground circuit among the most faithful clubbers, Oscar Mulero now started to appear in media headlines in the specialised and general press alike. Thanks to him, the DJ was now a figure taken seriously by the media who had until then viewed them as just another of the many night works. As he had done so on many previous occasions, Oscar was again opening up doors and blazing trails… 

His second work was released in 1999. It was done with GROOF, an experienced producer from Madrid. The two formed the duo Quite Unusual, on the GROOF label Brainwaves. They were well received by critics and also enjoyed good sales. His first release with an international label came in 2000 on the French label Kobayashi. It was his first away match and first away victory!

That very year saw the birth of WARM UP and a couple of years later, its offspring POLE. From then on, all Oscar’s efforts were focused on releasing his own material, whether home or away, on the very best techno labels of the planet, such as Coda, Pure Plastic, Tresor, Sheep, Tsunami and Main Out. That put him definitively on the world techno map. Between 2000 and 2002 he released no fewer than 9 EPs, which lead to a contract with one of the biggest dj booking agencies of the time, Dynamix Booking from Berlin, an agency that also represents some of the best techno artists of the world. From then on, Oscar was seen and heard in clubs and festivals from all over the world, more and more often.

In 2003 he released A Occhi Chiusi on the Pure Plastic label, under the name of TROLLEY ROUTE. This was a totally mental electronic work that was also easy to dance to. That album ended a cycle and confirmed his maturity as a producer.

Since then, he has continued his relentless work producing and remixing with the very best techno labels the world over, and he hasn’t stopped appearing on the electronic stage everywhere. Dr. Smoke, his alter ego, gained strength during this period as a showcase of Oscar’s open and eclectic vision as a music selector, leaving techno aside and moving deep into territories such as electro, dub and IDM. 

During 2008 Oscar significantly expanded his work map. Visiting the Movement festival in Detroit, China and Japan, he has left his mark on almost every continent.

During 2009, his international presence included forays into countries as exotic (from a techno point of view) as China. As for studio work, that same year saw the digital release of the Trolley Route album, the making of a CD mix for the prestigious Tresor Records label and the creation of the Selección Natural collective together with Exium, Reeko and Christian Wünsch.

Following a memorable anniversary party at Fabrik, Madrid, that was a huge success with the crowds and celebrated his twenty years as a dj, we see the end of one era and the beginning of a new one. From then on he is open to the use of new technologies and new projects, such as the Pole platform, which picks up the thread from Selección Natural and gathers the best of the national techno scene under one banner. 


During 2011 we saw the release of his first LP as Oscar Mulero, Grey Fades to Green. A double CD also released as a 4 vinyl set which will bear testimony to Oscar’s maturity and consolidation as one of the most important electronic music producers worldwide.

On the stage side Oscar has developed a fully audiovisual experience with his “Light & Dark AV Set”, tested live in some of the best festivals around.

For 2012 he’s going to celebrate 10 years of his primal label WarmUp, which will soon reach its 30th released record.

Llegó Agosto……… SUNJAM

Pues este mes de Julio esta dedicado al Festival que paraliza la Región por completo SUNJAM les comparto una nota de mis buenos amigo de Cube Culture. 

Llegó Agosto……… SUNJAM

El mes de Agosto es para muchos uno de celebración a nivel mundial.  En Guatemala el día la Asunción, en El Salvador las fiestas agostinas, en una buena parte de Europa las vacaciones de Verano y en varias otras partes del mundo pues simplemente un mes más para celebrar el día a día y la fiesta en general.  Pero Agosto también marca otra celebración, una muchísimo más trascendente para los amantes del género de música electrónica, el Sunjam en Water Cay en Utila. 

El primer fin de semana de Agosto todos los años marca la celebración más selecta en Latinoamérica del underground electrónico.  Todos los años decenas de Dj´s desembarcan en la isla de Utila en las costas de Honduras para saltar de clavado a noches de deleite musical. 

Si bien es cierto originalmente el festival comenzó como una celebración única el día sábado, en los últimos años, el sentimiento se ha desbordado a varios bares y lugares dentro de la isla en el resto de días.  Desde el miércoles se pueden apreciar varios toques en casas privadas, Bando Beach y claro el imperdible Coco Loco. 

Este año SUNJAM cumple su edición 16 en un año muy especial debido al cambio de ciclo maya, cultura que traemos en las entrañas la mayoría de los artistas, creadores y asistentes al evento.  El line up como siempre será variado, pero con un gran enfoque en la propuesta Techno con sus los sospechsos usuales, Xpansul y Alexi Delano.  Por Guatemala dos actos muy memorables, el de Casta a.k.a. Andrés Castaño en su décimo aniversario detrás de las tornamesas y el de The Switchers, un Dj set muy especial lleno de efectos especiales y 4 tornamesas y 2 mixers. 

Les dejamos la información del evento y del resto de actividades que sucederán durante la semana.

Fotos de Semana De Música Avanzada 2Pte

Un Poco de lo que Fue Semana De Música Avanzada, Me llena de orgullo saber que hay personas que están Haciendo Cosas interesantes en Guatemala, Y prueba de ello es este festival, Gente como Casta,Andres Gatica,Pretz,Comparini y muchos que esta comprometida a su trabajo amor al arte!

Wild City 025: Ambivalent - Wild City

Wild City 025: Ambivalent - Wild City

Pronto estaré Hablando sobre lo que fue la Semana de Música Avanzada solo estoy recopilando un poco de información y dejando que mi mente  Ubique los días que estuve ahí.

Bueno señores se vienen cosas interesante para la Musica en nuestro pais!

The new guard is fully upon us. With Jamie Jones taking over the top spot of RA's 2011 DJ poll, it only seems right that Nicolas Jaar would be honored by RA readers as the finest live. Jaar's live show doesn't lean on pyrotechnics or bleeding-edge technology. He simply played really good songs really well. Whether that meant with his live band or performing solo, the focus was on transforming the club space into a place where dynamics ruled, charisma mattered and the tyranny of the constant kick drum fell away. Like Plastikman last year, Nicolas Jaar proved that you don't need to rock a crowd non-stop to win fans—and once again showcased that substance is just as important as a bit of style.

SMA2012

Muy Pronto SemanaDeMusicaAvanzada