Braille’s debut was back in 2001 on the Barcelona label Cosmos, an album filled with pop nuances, jazz complex rythms, even some latin influences mixed with what now has become a classical electronic sound (even if it’s not), trying always to merge the organic with the electronic.
A music influenced by a wide musical background where we could possibly listen the echoes and influences of productions labels like Factory or 4AD or Classical and Barroque music, concrete music (Schaeffer, Parmegiani), Jazz (Coltrane, Mingus, Monk), Contemporary music (Feldman, Cages, Ives) ; not forgeting some actual labels like Tzadik, Sonig, Mego, Thrill jockey, Table of elements… Still with further resonances from cult group like the Beatles, New Order, Sonic Youth, The Smiths, My Bloody Valentine or the Velvet Underground.
« Dia mes año » Braille’s first Lp gave him the chance to play at festivals like Sonar 2000 Barcelona, Observatory 2001 in Valencia, he also played at the Sprawl (2001) in London and supported Lamb in Barcelona and Madrid (2002). The same year one of the tracks of « Dia mes año » was selected for the DVD compilation D-tonate by the London collective of graphic designers, collaborators with the Wire magazine. Braille actually live in Toulouse (south west of France) where he also played during last summer edition of « les siestes electroniques » . His compositions have evolved towards less rythmic, more abstract and emotional terrains, resulting from many different personal and artisting meetings, along with deep personal experiences, the outcome of wich is the album « Partir ».
FUJAKO are Jonathan Saldanha and Nyko Esterle, working with echo, bass and space, summoning unlooped hip-hop and telluric dub from the geological strata. Collaborating with MCs coming from the most experimental sides of the hiphop world, Fujako are inspired by landscapes, mental smoke, old percussion and Rap.
Featured MCs: Sensational, Native, Cheravif, Scalper, Seraphim, Black Saturn.
The monstrous, mineral instrumental sound & beat scapes of Fujako’s Landform were recorded in a remote mountain refuge in central Portugal in the “Serra de S. Macário”, a region famous for its cursed mines, abandoned villages full of wandering goats taking charge and rumours of devil worship. A zone quite like a crossover between Lovecraft’s back country near Innsmouth and Arkham and the Shinig. Uliel and Esterle used the whole context as a source instrument. A record haunted by organic, deep and slow, drum-heavy environmental reports from remote mental regions inhabited by wild desolation, silence, fracture, and the echoes of the enigmatic and immemorial mysteries of the land and of our brother animals. They taped drumskins, stones, wind, live crickets, flowing water, wood and skulls to make most of the drumbeats and drones and the whole rhythmic and sonic texture so specific to Fujako. It breaks down the language and usual methods of this rough, urban music to reinforce it back through the cosmic wilderness of haunted grounds and landscapes. Their amalgam of stone-beats, old instruments & silent animals colliding with overloaded electric manipulations, massive bass blasts and corrosive flow makes the Landform. Bringing back the parallel world into parallel music and the phantom & space back into the dub.
– Benjamin Brejon
As forest fires ravaged the landscape all through the country, the sky was a fiery orange on an almost daily basis, and a glimpse of the Plagues of Egypt was offered to our modern day sinfulness. Fire is, of course, a central driving force in the process of alchemy, and alchemy is a central preoccupation permeating these two musicians work; the endless, minute recombinations and fusions of The Great Work are not at all distant from hip-hop’s sampling and reconfiguring tactics, or from the miraculous transmutations of sonic matter created by dub strategies. In this Landform, all manner of sound substances (instruments from various ages and places, all played by the duo in a short-circuit process of “self-sampling”, the MCs voices, the ghostly effects) are welded in a metaphorical forge, coalescing into a form of cosmic mountain-top music.
– Filipe Silva
(…) Warped and twisted beats threaten to mutilate your speakers, distorted and fractured vocals flit in and out of the mix. (…) Challenging, intriguing, and guaranteed to scare the pants off small children.
Tom Nook – HHC DIGITAL
(…) weighted with bass forged by sweat and stone, bolstered with acoustic instruments fired in devilish furnaces and artculated by voices raw from the fumes. To enter the rumbling soundscapes enclosed within this album is to journey to the desolate ends of uncharted territories, to test madness with incessant tapping and blaring foghorns (…) engendered an unforgettable exegesis of post-hip hop norms (if such exist) and pushed the envelope for this genre with startling ferocity(…)
Dutton Hauhart – Connexionbizarre
(…)Le hip-hop expérimental existe et Fujako en est un de ses représentants. (…) Assurément le hip-hop a besoin de disque comme Landform pour bien montrer que le genre n’est pas encore totalement gangréné par la facilité, le grotesque et que d’autres voies sont explorées.
In the world of Brussels hip hop L.E.G. are outsiders, noted for their experimental music influences and use of distorted English-language vocals. Producers Sublyme Diagonal and Roger3000 continuously and independently recycle their collective work in which Citizen Ledge intrudes, recounting his doubts about our times and our ageless paradoxes