Altar Transformer — The blissful mud man
Music composition, playing and below dialogue: Wellington Amancio da Silva
Below dialogue: Leo Barth
Musical voice monologue: Edu Capaverde
Altar Transformer collected the voice of a magician friend who, at the time, was talking about Hermeticism. The voice was inverted in a recording studio (DAW), seeking clarification of the “Great Sacramentum of Language” (GSL) that is present in everything it doesn’t clearly mean. The voice was put above a single, long synthesizer note, for more than 4 minutes. With each new relief in each inverted syllable of voice, a new musical note was born with its own iridescent light. So, was born the music of unknown colors in the middle of the phoneme-reverse.
ManoLeo — “The blissful mud man” is the name of this production?
Bro, that was one of your most different sounds I’ve ever heard.
Until just over the 1st minute I thought it was going to speed up a little jazzistic and the stop was improbable and nothing obvious [I ironically remembered the current PC “DJs” and regretted it].
Amancio — My grandfather’s synthesizers, here at home, asked me for a drink with good voltages to warm their stomach and start singing.
ManoLeo — Then the halt sounds like fluctuating and transient in various states, maintained by the initial attack or arrangement to the phrasal ‘velatory’.
Falling sharply at the end [or gap to the new beginning].
Schizophenomenic reading, lol.
Amancio — I think that the inverted voice discourse is a neo-Zoroastrian exhortation to that portion of humanity that still knows how to play and smile.