Suzana’s Bauten is an act from Salvador, Brazil, with a logo visualised as 2V54n42 64V73n. This trio has a modest curriculum vitae going on (and most of the material was released via the great Spanish Noise label Craneal Fracture Records, and quite some stuff as well on, for example, Murmure Intemporel). So it goes for Nucleo Duro too, that Craneal Fracture Records release, available both digitally as on tape. This collective consists of Gil Freitas, Williame Santos and Jean Souza, and what they bring is pure madness. Experimental madness. Weird madness. Artistic madness. Mad madness.
The trio ‘invoked the dark forces of a cybernetic paganism found in an old book accompanied by a pen drive giving life to Suzana, which is a mixture of electroacoustic elements in the form of emotions that originate from the chaos and extreme feelings: hatred, lust, contentment, peace, envy, compassion, nihilism, boredom, contemplation, a myriad of sensations in sound waves that can cause melting of the brain or the possibility of small momentary divinations. Thus said…
On Nucleo Duro, Suzana’s Bauten experiments with voices especially, and many sounds and samples. Electroacoustics, Musique Concrète, Experimental Noise and Avantgarde Electronics, this is a mixture of all those frenzy muSICKal trends, sort of molten into a schizoid symbiosis. The better part of the tracks – no, sorry, I have to start this phrase all over again. The better part of the sonic creations (that’s more correct than ‘tracks’) are quite alike. They are short pieces with a chaotic structure and avantgarde experimentation. But the highlight for sure is Ela E Uma Noise Girl, a lengthy piece (with its fourteen minutes, it is almost as long as all others together) based on improvisational percussion play especially. It’s not that this material equals the best Metal drummers, for instance, but be sure that this material is energetic, and therefore intensively inceptive. I do not know which things these guys did use to knock on, but I hear bells, boxes, drums, cymbals and much more. It gets accompanied by some live performed synths, fx and mellotron (or organ?), and some of those typifying vocal samples.
This is the kind of sonic improvisation that is the opposite of Music. This is Art, but not Aural Art. And for sure you need to be somewhat disturbed in your head to adore such foolish stuff. So I advise you to listen very carefully (I shall say this only once). But you might be as lunatic as undersigned, and then, please, get in touch with Craneal Fracture Records. Visit their Bandcamp page and find out this recording, and much more…