Laboratorio para la Desocultación Sonora de la ‘Patamúsica 2020

All noise, sound & music composed by Oxomaxoma: José Álvarez Prosumer Rabdoll Arrangements, editing, mixing & mastering by Bishop UPG at Grabaciones del Cuarto Blanco, Mexico. Stencil design: Rabdoll Art design: Salomón Alcántara © ® Oxomaxoma, 2020. Sector Industrial Producciones (SIP014) PI-E Sounds (PIES003) Patamúsica (PTMSC003) Ignoto Records (IGR002) Contact: oxomaxomamx@gmail.com oxomaxomamx.bandcamp.com www.facebook.com/PatamusicaOxomaxoma www.sector-industrial.com info@sector-industrial.com --------------------------------------------- 1 of As (Nativity of Pantagruel) year 147 (‘Pataphysical calendar) November 3, 2019 (vulgar calendar) Ha ha!! Welcome to ‘Patamúsica! With respect and admiration to Alfred Jarry - who in the early nineteenth century invented the 'Pataphysics to solve various situations with “formidable imaginary solutions for all problems that do not exist but hurt and hurt and to challenge the holy traditions of easy operation”*-, Oxomaxoma has founded the Laboratory for the Sound Des-occultation of the ‘Patamusic (LDSP) to produce and generate all those imaginary sounds that are not intended to solve anything, however they are an acoustic mirror of the mass media that defends drop by drop the dose of sound absinthe, "that pure liquid"*, which requires the citizen to relax their auditory consciousness. Oxomaxoma through the LDSP has, "without too much faith but not without any"*, serious intentions of belonging to the College of 'Pataphysics as an active member of a "learned and useless society"** dedicated to the study of an imaginary sound and through of the "Des-occultation"** of the 'Patamúsica as a branch of Jarry's discipline to promulgate as a starting point that "the law of exceptions is that nothing should escape the state of permanent exception."* What is ‘Patamusic for? Not at all. It is useless, not even to "disrupt the conventional order"* of things, nor to raise the revolutionary fist, nor to analyze and criticize current technology and industrial society. It only appears at a time when madness and dystopian concerns help us to narrate the events of graces and misfortunes that never go out of style, to create the Heterotopia that M. Foucault identified as “spaces of alterity, which are irrelevant, that they are simultaneously physical and mental”. The transformation of consciousness is not a consequence of the ‘Patamusic in itself but of the individual's particular experience of hearing “imagine, want another result” * and thus face their “luck before those who until now have always been their sole owners."* For ‘Patamusic everything happens in a territory and in a neutral temporality so that in such a way it can happen outside the society that has been educated in the inability to even imagine a revolution. Passengers in time, travelers of the last Breton convoy, we crossed several decades and generations, the destination is a port in which we are Patacesors dedicated to music, which we applaud contemplation, rhythmic repetition, the obsolescence of everyone's musical technology and no time, we throw the sound roots into the air, to the changing wind that blows from madness as a freedom that still belongs to us and brings us “to realism, not to reality.”** We want to manage sounds like weapons to kill the owners, protectors of their sounds. As Enrico Baj did with 'Pataphysics, ‘Patamusic “in the face of the most solemn and bureaucratic aspects, ceremonies, constant and repetitive editions” must be shown “ironically diplomatic”, or in the words of Christian Ferrer: “a buffoon reaction and destructive ”as a result of a“ serious reaction ”. Laboratory for the Sound Des-occultation of the ‘Patamusic uses as its main tool “The Source that Emanates”, a non-instrument useful to hide sounds and useless for music, which together with the prosthesis, the ephesis and the paragoge of the metaplasm characteristic of the vocal identity of Oxomaxoma, they attack the auditory zone with the sole purpose of not pursuing any -like poetry, which serves to forget things, or not- we will expect, like Dr. Faustroll, to have our “sofia revealed" In this way, the exercise of applying the idea of non-instrumentation to generate loudness by connecting different electronic devices, diverse objects, technology considered obsolete, old or even that politically "sounds bad" arises. "The Source that Emanates" not only emitted its screams, but also broke the hegemony of "correct behavior" when connecting, interpreting and recording. We conclude that the tradition, tendency and foolish attitude to convince consumers of music technology responds to marketing, by which some sound, creative and revolutionary values have been diluted in sequences, formats, devices, packaging, patterns and a diversity of products that have created a useless sound-musical standard. ______________________________________ * The quotes belong to the writing of José Manuel Rojo that he made as an introduction to “What is‘ Pataphysics?” By Enrico Baj, 2007. ** The quotes belong to the text of Adolfo Vásques Rocca that he made about “Alfred Jarry. ‘Pataphysics, virtuality and heterodoxy”, 2006.