Musica ex Machina - BURP

hopetone records 2018

Pino Saulo present BURP - Radio3 17/12/2018

"Information is not knowledge.
Knowledge is not wisdom.
Wisdom is not truth.
Truth is not beauty.
Beauty is not love.
Love is not music.
Music is THE BEST."

F. Zappa

In 1970, Dario Fo invoked the liberating Burp to uplift the troubled conscience of the indignant citizen. In 2018, the Burp has invaded mass communication by entering into the core of politics, science, art as perennial bikini-clad females, ads for biscuits, perfumes and cars, kittens in bottles, penis enlargement, extra-terrestrial footprints and all that junk oozing from the home pages of online tabloids. In this slimy ambient everything appears ephemeral ; both the most tragic of news items and commercials are on the same level, destined to disappear, change, change in a few clicks, without even being able to conceive an archive capable of conserving, for future generations, the contents of the media that formed the culture and consciousness of this bulimic age. Burp !

Burp is an album conceived as a flux of visions of a monstrous online magazine where the most dramatic current stories - those that make news, produce scandal, form opinion and orient the masses - are placed unashamedly side by side with other news that disorient the masses, in a zero-sum game where everything must be constantly updated to remain steady and reassuring. The nine tracks of this album range in genre, style and theme, while maintaining a strictly acoustic style, as the recordings were all made live in the studio of the SpazioIncontr'ARTI , Cagliari, on the days between the 4th and 7th of January 2018.

From the eighteenth-century western thinking on, music has emphasised its elusive nature, its existence only when played. This fleeting aspect was captured when recording was made possible: from the reproducibility of the performances was born the record market that has distorted the relationship between the public and musical culture, seeing that in order to enjoy sounds (finally) it is no longer necessary to know how to play an instrument. Finally, the electronic generation of sounds finally emancipated music from performance practice. However, there is no historical-cultural process that does not generate its opposite too. It is to this that jazz music, with its nature as impromptu improvised music, owes its success, its actuality, its diffusion, precisely because it is the musical genre least compatible with the logic of industrial reproducibility: a jazz record is always a once-off photograph of one of the endless performative possibilities of a piece which will never sound the same again. The very fact that, when an interpreter is improvising, he/she delves into his/her cultural background, has permitted jazz to emerge from its original African-American world and become a language open to contributions which single musicians from all backgrounds are capable of making: from Caribbean and Latin jazz, across the ocean to jazz-flamenco, Scandinavian, Turkish, Indian and Afro-beat ... Today, thanks to its ephemeral nature, this music has become, more than a genre, a cultural context which dialogues with globalisation and contemporaneity. But there is no guarantee that conscience will be saved.

drawing by Mauro Testa

Musica ex Machina

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