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’ and which was a joint effort with Antonio Monsalve (Perro mojado). 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’, a gorgeous LP that drew on a Waldorf Blofeld and a drum machine as the only instrumentation. Severina’s new album is entitled ‘El ojo brillante’ (the bright eye), a suggestive and fascinating work where some of the songs even come to face their own reflection, to extremely reduced versions of themselves.
Severine Beata’s approach to work is in sharp contrast with that of most electronic musicians, who tend to overely on production software such as DAW. To her, 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 -it is important to flee from the manipulation of the other to secure a work space for yourself (…).
Played, recorded, mixed, and produced with Javi Alvarez (Fluzo, Duo Cobra), whose personal touch is visible in all compositions, through subtle instrumentation or in the more conspicuously upbeat moments. 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: -‘El ojo brillante’ 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 (…).
