ENGLISH | ESPAÑOL
2005, remodeled version 2022
CD, fin del mundo, 2005 (sold out)
Digital album (remodeled version coming soon)
It is a research work based on real-time sound construction with determined and undetermined processes. It was composed live while a tour made in Europe at 2005 and included concerts given at Barcelona, Krakow, Hamburg, Porto, Lisbon and Huelva. Patches developed in Max were used, which allowed both to process samples and generate FM synthesized sounds in real time. The recorded tracks in concert were post-produced at studio. The visual material of u_xy was made with photos taken in the cities that are processed and mixed and animated with a series of patches developed in Max.
u_xy is Haro's first formal full-length work, proudly announcing on its tray card that it is a project "based on real time electronic sound construction" rather than the usual studio-bound desire to overdub. Sharper than a surgeon's scalpel, here Haro's frequency bisections are less obviously informed by overt "rhythm" and instead develop into tactile, science-lab soundscapes. "Barcelona" squishes bell-like tones into a series of Reichian flatulence stalked by ware-wolves. "Hamburg" is nigh on indecipherable almost a minute in, gradually becoming a solid state mass of subterranean trills amidst muted, half-heard Harlan Ellisonian robot howls, until those very robots begin trekking across desolate, grey geographies. The parched strings of "Lisbon" nestling up against pools of drones, posits microsound as classical music in reverse, an intriguing area begging for further exploration. Haro¹s definitely on to something here, erecting bridges between the aridity of academia, the propulsion of post-dance musics, and the residual atmospheres lurking about microsound¹s tonal exhaust, threads of these ideas coalescing during the good frequency vibrations of "Huelva". And just like that… bam! A star is born.
Darren Bergstein. e/i magazine. USA. August 2006.
Jorge Haro hails from Argentina, these six "real time sound constructions" were recorded in Barcelona, Cracow, Hamburg, Porto, Lisbon and Huelva in early 2005. It comes with the instruction "please do not alter the volume level during playback". That leads me to suspect some kind of nasty trick, like starting out pretending to be bernhard günter and suddenly metamorphosing into Merzbow about halfway through (I mention this because I did it myself once, heh heh), and reading that Haro has worked with the likes of Zbigniew "Schopenhauer" Karkowski doesn't augur well for the eardrums either, but in fact the six "real time sound constructions" (hmm, isn't all music "real time sound construction"?) are elegant, almost clinically precise, and a long way from the sweaty screaming bombast of year average Noise album. That said, about halfway through "Porto" you might be tempted to rush to the hi-fi and turn it down… but don't – the fear subsides and you're left with a very accomplished and enjoyable piece of music. Or real time sound construction, if you prefer.
DW. Paris Transatlantic Magazine. August 2006
Requirements: HQ 2.1 ch sound system | HD video projection with HDMI | HQ audio mixer | 1 table (height 1,00m - 1,10m, surface: 1,50m x 1,50m)
Jorge Haro setup: laptop, USB audio interface, OSC/MIDI controller
Trabajo de investigación basado en la construcción sonora en tiempo real a través de procesos determinados e indeterminados. Fue compuesto en directo en el transcurso de una gira realizada en Europa en el año 2005, que incluyó conciertos en Barcelona, Cracovia, Hamburgo, Porto, Lisboa y Huelva. Se utilizaron patches desarrollados en Max que permiten procesar muestras y generar sonidos de síntesis FM en tiempo real. Las pistas resultantes fueron post-producidas en estudio. La puesta visual de los conciertos de u_xy se realizan en base fotografías tomadas en cada una de las ciudades que integraron la gira, que son procesadas, mezcladas y animadas con una serie de patches desarrollados en Max.