Active for more than two decades and with a discography that exceeds ten albums (presenting them he has toured Europe, America and Asia, performing in no less than the Issue Project Room in New York, the National Arts Centre in Mexico City, the Ftarri in Tokyo, the DOM Cultural Center in Moscow, the Église Saint-Merry in Paris or the Auditorio Nacional de Música in Madrid), Miguel A. García is a reference in experimental music and sound art, both for his work as a composer and for his career in the electroacoustic improvisation scene. During his career, the Bilbao artist has collaborated with names such as Fernando Carvalho, Francisco López, Francisco Meirino, Ibon RG, Jean-Luc Guionnet, Juan Carlos Blancas or Seijiro Murayama, as well as curating events and festivals such as Zarata Fest, Hotsetan at Azkuna Zentroa or the mythical and now defunct Club Le Larraskito. An immaculate career, in short, to which is now added this work that we find ourselves before. A double album with which the Basque artist has managed to lucidly transmit the vital moment in which he finds himself and give shape to this timeless and genuinely avant-garde artistic artefact, called «Littentula».
Like a modern Prometheus, but using as raw material the documentation of his own capture processes (both for timbral synthesis and composition), in this new full-length, García signs an intimate and attractive invitation to sublimation, through pieces that are abstract in nature and that boast a brutal sensitivity. A stimulating invitation, which has been orchestrated with musician friends of the stature of Garazi Gorostiaga, Enrike Hurtado and Garazi Navas in mind, who have turned his scores into a major work that transcends genres and is divided into twin volumes, united by a new artificial beauty conceived from the genes of the old world.
On the first disc of «Littentula», García officiates as the creator of an authentic sound stage, where the transmuted organic refers us to nature’s cycle of regeneration. The four tracks that compose it are developed from an intriguing metric of beats, which manages to stimulate and broaden our perception of the hidden face of the apparent. In the second, this pre-conscious logic ends up deriving in a sort of slow-motion convulsion, a deafened, veiled, latent and strangely intense spasm, through which we come to intuit that in the object of creation the dawn and the sunset are manifested. A beautiful game of mirrors, with which Miguel A. García places before us the most essential intrinsic double opposite. Life.
