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Leslie García and Paloma López (Mexico City) have been working for several years around the intersection of music, art-installation and science, with sound being the primary objective of their analysis, acting their roles as composers/creators and observers of the physical phenomenon. Their work ranges from experiments with bioelectrical sounds created by living organisms like bacteria and plants, to the use of custom-made sets of hardware they call ontological machines. They usually operate within their own platform Interspecifics, and FRGL is their second release under the moniker: LogarDecay. The sounds contained in FRGL might be their more musical work to date. It is not far from sound art, yet the bright accidents coming out of their improvisations seem to exist in the limits between harmony, rhythm and pure noise as a construction. Its tension sometimes soothes, sometimes mutates into a state between drone, ambient and abstract techno. FRGL is an exercise in transparency that does not seek to hide their errors but to maximize them and turn them into an aesthetic statement.

Recorded and produced during 2017 and early 2018 between Santiago de Chile, Madrid and Mexico City. Using processes ranging from analog synthesis with DIY synthesizers, programming of rhythms with Supercollider, programming of digital drones in PureData and other virtual tools. Composition instruments and mix by LogarDecay. Mastered by Dino Spiluttini in Vienna. Design & photo by Daniel Castrejón.

LogarDecay: FRGL

Bare LogarDecay 2'54''
Restless LogarDecay 3'38''
Things To Forget LogarDecay 8'43''
To Be Kind LogarDecay 6'38''
Remembrance LogarDecay 4'32''
Fragmented LogarDecay 4'55''

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