Album by Jonathan Saldanha released by the label SILO RUMOR. This sonic piece brings together an interstitial realm of generative choirs, gestual percussion, reminiscences of fanfarre music and resonant spaces interacting with disembodied voices.
It was recorded in tunnels and cavities found in and around the city of Porto, and was mixed as a dub record set for a soundsystem of the future, in a process referred to as Skull–Cave–Echo.
Tunnel Vision is a re-edit and remastered version of the original soundtrack scored and recorded for the experimental sci-fi film Tunnel Vision, directed by Raz Mesinai and released on Tzadik DVD Series.
The film comprised of shots taken on tunnels and subterraneans in a particular post-apocalitic hyper modernism was co-produced by John Zorn, who called it a “21st Century Cult Classic”.
Released on 12” Vinyl LP and digital format, by SILO RUMOR and distributed by Cargo UK.
01 Fanfare from the Resonating Concrete Entrance
02 Tunnel Vision
03 Ressurection of the Concrete Jungle
04 Train Tunnel/Crane Dub
05 Fanfare from the Resonating Geophone
06 Arca d’Água
07 Crystal Breath Autopoiesis
Featuring: João Pais Filipe / Álvaro Almeida / Rui Leal / Gustavo Costa / Catarina Miranda / Jessika Kenney / Mike Ladd
Recorded and mixed by Jonathan Saldanha | Master and lacquer cut by Frédéric Alstadt at Ångstrom Studio, Brussels
Massive thanks to Eyvind Kang
The Fanfare Diptych is a set of two videos created to accompany the two fanfares present in this release.
The first, directed by Jonathan Uliel Saldanha renders an electric view from the iconic Oporto building responsible for the baptism of our label — the Silo Auto. The second, directed by Diogo Tudela galvanizes a single photograph into a geologic narrative.
A monthly two hours transmission in Rádio Quântica.
The Macumbas are a cast of musicians assembled by HHY to perform a barrage of percussion, sub-bass pressure, horns and echoes. Influenced by electricity, ceremonial percussion, ecstatic chaos and suburban landscapes. Using Dub to unravel the sonic spectrum and the rhythms from the mental jungle.
Throat Permission Cut [SILORUMOR 12″vinyl, 2014]
Legba in Dub [Wire Tapper CD, 2011]
Legba/Houmfort [Soopa 7″vinyl, 2010]
Electronics & Spectrum | Jonathan Saldanha aka HHY
Percussion | João Filipe, Frankão, Filipe Silva, Brendan Hemsworth
Horns | Álvaro Almeida, André Rocha
Live Sound | Nuno Aragão
Bass | Rui Leal
Trombone | Rui Fernandes
Sax | João Guimarães
Synth | Nyko Esterle
“The powerhouse of HHY & the Macumbas blow all in attendance to pieces.(…) dive straight into the heart of some distant jungle nightmare, coalescing strands of industrial, dub, and tribal music tropes into a blinding new sound straight only possible in the fervent Portuguese underground music scene.”
Tristan Bath, The Quietus
"If you're in to melt yourself down, you're gonna love this"
Mary Anne Hobbs, BBC Radio 6
"Os metais surgem como vagas, quais clarins de orquestra épica chorando, altivos, um requiem (...) não temos referências precisas, temos o som e a forma como nos conduz, à uma telúrico e fora deste mundo."
Mário Lopes, Público
"Ecstatic Free Dub. There aren’ too many precedents for this. And that’s what makes it so remarkable."
Bob Baker Fish, Cyclic Defrost
"A primeval vision, a fantastic allegory of death becoming alive. A great, beautiful record."
Stefano Isidoro Bianchi, BlowUp Mag
"Voodoo-Cave-Rave. Ultra-repetitive, transcendent, hypnotic, immersive, gentle, melancholic, powerful, epic and really really horny."
"A massive synapses bombardment in a short circuit between Branca and Sherwood, strong medicine."
Bad Alchemy magazine
Fujako are Jonathan Saldanha and Nyko Esterle, working with echo, bass and space, summoning unlooped hip-hop and telluric dub from the geological strata. Collaborating with voices coming from the most experimental sides of the hiphop world, Fujako are inspired by burnt landscapes, mental smoke, old percussion and Rap.
Featured voices from Sensational, Native, Scalper, Seraphim and Black Saturn.
EXOBELL [Ångström Records 12″”vinyl, 2015]
Soul Buzz [Ångström Records 10″”vinyl, 2014]
Landform Erosion [Rotorelief 12”vinyl, 2012]
Landforms [Wordsound Digital, 2009 & Ångström Records, double 12″”vinyl, 2012]
"Apparently, the way to counter-act a black hole is to play dead. (…) blown into a cloud of bongos, bass and hi-hat debris. My sense of depth perception is completely fucked"
— ATTN Mag
"If one needs to wipe off some nuclear dust from a massive wall of speakers to set up a zombie rave in the midst of the Nevada Test Site this is the sound to play on repeat for a reason."
"Warped and twisted beats threaten to mutilate your speakers, distorted and fractured vocals flit in and out of the mix. (...) Challenging, intriguing, and guaranteed to scare the pants off small children."
— Tom Nook / HHC DIGITAL
United Scum Soundclash was spawned by the team of producers Jonathan Saldanha/Scott Nydegger. Their recorded works operate where genres clash and cut-up production techniques allow free jazz, electronics, eastern traditional, noise, stoner rock and dub strategies to play together on musical/sound narratives for the mind.
U.S.S.’s sonic psychedelia constructions feature the manipulation and re-edits of recordings sourced from sessions separated by time and place (from Brooklyn to Paris, from Brussels to Porto), made of close collaborators like Steve Mackay, Sam Lohman, Vincent Paternostro, Dan Kauffman, Noah Mickens, Filipe Silva, Jason LaFarge, Kamilsky and many more, in an ever growing number of musicians coming and performing from a patchwork of styles.
U.S.S.: MACHINE GUN [Soopa/Radon CD, 2011]
United Scum Soundclash [CD Soopa/Radon, 2005]
HHY is the cypher used by Uliel to represent his Skull-Cave-Dub strategies, in the live dub mix and manipulation of the sound files, excerpts and recordings coming from all its pieces. Choir, percussion, electronics, deep vibration and brass move together in a fluxes of sound intended for the sound system.
Dubbing or doubling to a version, running the memory of a number of musical approaches through a third ear. Featuring moments from pieces like Khôrus Anima and Sancta Viscera Tua, and with the manipulation of samples coming from the projects HHY & The Macumbas, Fujako, Mécanosphère and Beast Box among others.
As the echo-driven reduction of structure into memory and reverberating spectre. As an effective, mediunic technique of engaging phantasms. As an operation of summoning and decantation. Instrumentation gives way to memories / prostheses of instruments, encoded into electric ghosts by the mixing desk. An electric archive of sounds fleshed out into skeletons who will later be reanimated, transfigured and recast in space and time through processes of decantation.
The immersion tactics of skull-cave oriented Dub, applied to whichever type or style of music sets the deconstructive scene of a negotiation between sonic space and a conscious state of immersion. A grey area scenario of echoes and returns. A scenario for deep charges of bass pressure overload and disorientating echoes, of permanent jumps and shortcuts between present time and present gestures and their direct interaction with their own ghosts.
Podcast at Acousmatics-Mathematics.