A free sound, songs like adventures away from any possible restriction (…) MUZIKALIA Luis Moner
We first heard about Severine Beata in 2015 when she published ‘Zumbido’, a record/book and exhibition by Amparo Moreno based on Erich Maria Remarque’s ‘All quiet on the western front’. The Malaga-born artist, a musician for over 20 years who holds a degree in musicology, presents her second effort after 2016’s ‘De rerum natura’, an LP that drew on a Waldorf Blofeld and a drum machine as the only instrumentation, after which a gorgeous second album would follow: ‘El ojo brillante’, a suggestive and fascinating work where some of the songs even come to face their own reflection, to extremely reduced versions of themselves.
To Severine, composition is executed from the very instrument, embracing errors and exploring each one of the codes with its possibilities and limitations. In her own words, -What influences you most is the work tool and your command over it. Riding the dragon (…). This method is permeable to intuition, and it is in the search for the idea that the method is capable of isolating any reference to end up exhibiting it transvestite, under its own rules.
No one has put to words the challenge and enjoyment that is to approach the music of severine more accurately than her good friend Sergio Cáliz López: -Severine’s music is a red carpet carefully placed under your feet, for you leap into the void, into the innate risk that is intrinsic to Severine Beata’s world. That world involves constant discovery and, on top of that, there is room for you (…).
