ALONSO URBANOS is the experimental musician behind the project called SCUMEARTH, one of the best examples still active in the spanish noise and industrial scene. Apart harsh sounds, SCUMEARTH make also another textures and landscapes more ambient / drone oriented.
In fact, I have ever done "mainstream music". I'm not a musician or career academy, everything I know I learned self-taught and influenced by other artists for almost unhealthy interest in machines and pottery. With SCUMEARTH I started already in 2000, just as the digital software were creating quite interesting tools and digital experimental music started strong, but over time and after spending some time in this format, I opted to use analog tools and spare computer and software in my first phase used external recordings with a microphone and minidisc, I recorded sources such as heat-fire, industrial machinery with contact mics, distortion pedal, then I processed it with digital software and built tracks, for example my first major work "A thing into the Dark" and "Black Snow I-II-III" are made with this method. What I wanted to get all this time is that the recordings I make for my edits can also be carried live today and after many direct and editions and thank the team that I have acquired over the years, I can say that is achieved. I think Live concert is also much richer for the viewer / listener. The interesting thing about this method is that I can play in my studio and record it, then play it live to 100% never sounds the same, and there I think is the interesting possibilities but also within the improvisation of the moment everything is calculated to sound machines in a scheme that I'm playing this as the set mounted, so if you know some of my edits will recognize if I play live. My style sound like experimental noise with a dark base, close to dark ambient, and other times it is dark ambient with a loud base and experimental sounds. That is the modus operandi of SCUMEARTH from its inception to the current date, now it's all real time without previous recordings, only generating what machines send pure electricity.
FOR WHAT REASON DO YOU THINK NOISE MUSIC AWAKENS IN PEOPLE 2 COMPLETLY OPPOSITE AESTHETICS: FOR SOME ONES (MERZBOW) IS PEACE, OPTIMISM, CIVILIZATION OR ABSTRACT ART. BUT FOR OTHER ONES IS WAR, VIOLENCE, SEXISM OR ANIMAL TORTURE.
Well, this is an issue that I can give you my opinion, but that does not think it's the truth, because every artist really externalized and internalized according to his tastes. If it is true that there is within the experimental music taste and approach extreme or taboo topics. The power electronics projects over time has become a channel to expose very dark sides of human being such as: extreme policies, bizarre sex, mass murderers, serial killers... but remember that just using sounds and very extreme and not suitable for all environments is how that is attached, I also believe that other people, listeners and artists use it as a personal challenge, sometimes unhealthy and anti-social, some posers and too much other paraphernalia... some artists simplify this and use it as a means of performing arts, most culturally... I think this depends on the sensitivity or lack of it at the time to focus your sounds / noises. There are many projects that use the aesthetics of the end to reach a certain audience, but then his music is poor or copy of others, so I think it's sad, same for styles with other less aggressive. In my personal case SCUMEARTH has never been focused on something like politics, for example, does not interest me at all mix noise with politics, in my opinion, but yes SCUMEARTH related be the human conscious and subconscious, sometimes dark, but also choose topics that interest me such as: medical science, biology, films, literature, etc. and I give my stamp of identity, becoming something conceptual, such as my latest work "Atomic Physics" is a vision of atomic energy and "Yokai" theme they are the stories of ghosts and monsters from Japanese folklore. Also very important in SCUMEARTH is to design issues, due my profession is a graphic designer, I think it's the ideal set if you buy a physical format, either on CD, LP or cassette, this part the most careful treatment, care and passion, almost like music / noise Ratio in SCUMEARTH.
ALL! All I like individually, but in the effort it costs me each, I liked working sounds in "Atomic physics" and in his absence the noise, energy and brutality of "Yokai" in a line more "Japanoise".
Cassette is a format that some of my generation we love and others not... I personally like format seems like a technological marvel-analogue, which is above the domestic range (or was a few years ago) may now it has become something of a collector's item, but that is also positive, this is something for minorities and do not care that most do not suits them because they can not put it in his generation mobile or computer and go your namely that device... many give importance to have a good team of domestic music, which includes repreductor cassette! ... personally today is also a way of paying homage to the era of "mailing list" in the 80's and 90's, where artists performed their stuff exchanges (today some highly prized tapes) which I enjoyed his last years. Maybe it's a format that seem from the current viewpoint and we invaded the digital era, it is "obsolete" for nothing farther from our reality, but hey, you also are giving options for all your digital download, meaning that at the end everyone is happy. With SCUMEARTH I made releases in CD and tape, in the near future will make on vinyl too. "Atomic physics" was on "Bestiarie Records" seal tape and now released in CD format with special bonus material. Also "Yokai" ("Mattoid Records") has come out in an awesome digipack with an exclusive remix of the spanish electronic band: Esplendor Geometrico.
Conscious and subconscious of human beings, sometimes dark (most of the time) science-medicine, biology, films, literature... and especially the machinery and pottery when connected!
WHAT KIND OF MUSIC DO YOU LISTENED TO WHEN YOU WERE A CHILD AND WHICH NOWADAYS?
I feel fortunate to grow as I have grown to know groups who opened another musical reality more "authentic" and gain knowledge and work what I like, as a Graphic Designer working with a handful of musical artists, creating music that I like . And even today I wonder how the groups got to know when we were without internet ... actual exchange of information and records with friends, we discovered fanzines and magazines, it was all more authentic and of course the effort that you did to give him more value to música.Sinceridad primarily because dwarf was heavy metal 80's like almost everyone in my neighborhood but I always listened to the same electronic and techno pop groups of the time, Pet Shop Boys, Ultravox, Tears for Fears, new wave My first serious disks... I changed from being a dwarf was Kraftwerk's "Radioactivity" and "Trans Europe Express" and later "Electric Cafe" (actually speak roughly 1985-1986 and unknowingly bought "Radioactivity" and "Trans Europe Express" because they were the disks at the store) I understood at first not very good... but then I was hooked as I listened more groups... after I spent my teens hooked to Depeche Mode to 90's or so... and there were new friends, fanzines, magazines, Front 242, Skinny Puppy, the legacy of Heavy Metal, Thrash Metal, Death Metal and a long etc.
ANOTHER CURIOSITY THAT SURPRISE US ALL OF "SCUMEARTH" IS TO SEE THE AMOUNT OF MATERIAL AND TO IMAGINE THE HUGE BUDGET YOU HAVE INVESTED ALL THESE YEARS.
Well, as I said before to been and is an evolution gained over time and to get to my current "modus operandi", I need these tools I have relied on the concept of creating compositions and sounds by manipulation generated exclusively by electronic instruments, the sources are waveform generators, oscillators, photocells, tactile elements, contact mics, customized synthesizers... away from most of those based solely on the post-production and / or live performance by current software compositions digital. Scumearth offered here all sounds executed in real time, which only generate analog machines, creating from the denser atmosphere, electricity, up imaginary sounds of industrial machinery, kinetic, distortion, rhythmic elements, repetitive, through walls intense noise, which emerge and bind separately or all together in a final mix. The mixture of these sounds even be random, start with a very specific structure and studied to be executed in real time, live, leveraging the power of the equipment in each session, the latter is a very important factor to the sound entity. Experimentation is the key here.
AND OF COURSE THANKS FOR YOUR TIME AND COLLABORATION.
Thank you for the interview opportunity. And for my past, present and future movements I invite you to meet me in my web and facebook too. Thank you! Kind regards.