1. Halley & Maria
2. Instrumentos y corrientes
3. Tormenta, pacto, muerte
4. Lo que dejó la ola
La 4ta Ola
4 November 2022
Colectivo NO is an ever-morphing collective of improvising musicians based in Santiago, Chile. Since 2005, this collective has dedicated itself to the rejection of canonical musical frameworks, opting instead for improvisations that respond directly to conditions created and dissolved in the moment, forming their sonic experience entirely according to the assets and abilities of those convened. The result is a pure noise, organic and wild.
Though Colectivo NO has been a strong and resounding presence in the Chilean underground for the better part of a decade, La 4ta Ola marks a new chapter for the group—born of and responding to radically shifting sociopolitical conditions in their home country.
During the uprisings known as the estallido social (“social outburst” or “social explosion”) that began in October 2019 protesting social inequality in Chile, members of Colectivo NO, individually and as a group, took their instruments to the streets to become part of the massive demonstrations, amplifying their ongoing practice of intervenciones sonoros (“sound interventions”) and improvisación situacionalista (“situationalist improvisation”), both of which entail the reclamation of public spaces.
In that same period, Colectivo NO entered the studio to make their first professionally recorded album, but true to their nature, the process would be unconventional. Over the course of a single day, 13 musicians—playing drums, electric guitar, bass, circuit-bent electronics, clarinet, theremin, trumpet, sampler, and various electronics and appliances—recorded 90-minute improvisation sessions as soloists, duos, trios, and quartets. The improvised structure was divided into four movements: adagio, presto ma non troppo, allegro, and vivace. Guitar and drums were recorded in an initial session. Some of the musicians improvised over this base, while others preferred to record without any previous reference.
A substantial part of the creative process for the album was the editing and mixing work by Jorge “Novita” Silva and Ervo Pérez. That process, which lasted about four months, involved a situationalist challenge with the recorded material. The ensemble of aesthetics resulted in an album of situational improvisation in which the sound moment of each session of improvisers is embedded in the total sound context. Thus the mixing work articulates different musical situations that compose the sound fabric from which this work emerges.
Professionally reproduced CD comes with poster insert.
Sebastián Tapia: electric guitar.
Álvaro Araya: bass.
Rodrigo Maturana: clarinet and loops.
Agnes Paz: theremin, electronics.
Lucina Toro: charango, voice and theremin.
Christian Delon: piezo microphones, feedback, objects, and Casio VL-Tone.
Cristian Pinto: trumpet and voice effects.
Antonia Valladares: drums.
Francisco Morales: drums.
Sebastián Villegas: trompe (mouth harp), samplers, and electric saw.
Daniel Riquelme: electronic atmospheres.
Ervo Pérez: medium, mixing, drums, circuit-bent instruments, and oscillators.
Jorge “Novita” Silva: recording and mixing.
Constanza Rojas: covert art.
Travis Putnam Hill: design and production.
Andrew Weathers: mastering.