Demonstrative of a type of extreme improvisation in which the conceptual properties of resulting materials supercede any musical or sonic aspects, the score of Cargaku embodies a subterranean aesthetic that highlights automatistic procedures, non-reliant structures and anti-formulative processes. As performers extemporize to video, sound events, suggesting subconscious and archetypal equivalents, arise from correspondential realms as unintended responses to exo-conscious prompters delineate identities, both cultural and personal. Post-generative analyses and conclusions supplant inspiration(s) in a manner parallel to that of destination’s presupposition of departure, thereby dictating a methodology of inceptive impulse, impromptu execution and retrospective conceptualization.
Thematic-conceptual allusions include:
road.drone.SilkRoute.intonarumori.Samothracianwings.MarinettilistenstoGagaku.car.music:Cargaku.transit.recit.(inalphabeticalorder)
audio. |
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auto. |
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automotopoeia |
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Autopia. |
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carburetor. |
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strike. |
dance. |
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string. |
deplete. |
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strum. |
distance. |
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supple. |
drive. |
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takeout. |
Germany. |
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time. |
Hollywood. |
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trance. |
HWY10. |
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vibrato. |
InlandEmpire. |
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video. |
instant. |
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voice. |
Italy. |
JAM |
Yugoslavia. |
joy. |
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strike. |
L.A. |
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string. |
life. |
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strum. |
LostHighway. |
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supple. |
mime. |
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takeout. |
motion. |
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time. |
motor. |
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trance. |
movement. |
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vibrato. |
PiHuang. |
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video. |
radio. |
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voice. |
reel. |
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Yugoslavia. |
repeat. |
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strike. |
ripple. |
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string. |
rodeo. |
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strum. |
run-in. |
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supple. |
sing. |
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takeout. |
Singapore. |
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time. |
still. |
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trance. |
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vibrato. |
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video. |
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voice. |
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Yugoslavia. |
MLuM is (in alphabetical order): Chung Shih Hoh: guqin, piano harp, sound (Singapore); Snezana Petrovic & Vid Petrovic: video (Yugoslavia); Michael Raco-Rands: electric bass, sound (U.S.A.); and Marco Schindelmann: voice, sound (E.U. & U.S.A.).
In addition to being a featured artist on National Public Radio programs throughout the U.S.A., MLuM, a Long Beach California based conceptual mock-pop and performance art ensemble, comprised of multi- national artists, has presented works in subterranean and experimental music concerts and sound art events throughout Southern California. With an intercultural and inter-media aesthetic and praxis that can be described as “Weltradau” (World Noise), MLuM takes and makes the “best” out of the “worst” (and vice versa) that various music(s), images, performance practices and sounds have to offer. Organic and inorganic processes, gong-chime cultures, ethnoise and sound mauls (as opposed to mere sound bites) are among its inspirations and references.