(Music: Mauricio Pauly, Gabriel Montagné, Lyrics: Mauricio Pauly)
Si revisamos con calcu el mes
nos exponemos mutuamente los flancos
vas a ver,
es una proeza tigruda, tigruda.
Si revisamos con calcu el mes,
si perilleamos el día a día,
puede ser,
que falto de ganas,
me coma la duda.
One night I received an email from Gabriel with an attached file from his alter-ego and friend, Darii Ferio....clever pianos + subtle, Dariiferian drums for a harmonic progression like a crab whose fin is its commencement (G. de Machaut?). The next day I replied with my own attachment which was the crab with a song growing on it. A couple more days of toying around with it and here is "the martyrdom of Darii."
(Mauricio Pauly, Gabriel Montagné)
mauricio pauly: voices, guitars, basses, drum programming gabriel montagné: brush-drums and piano programming.
(Music: Mauricio Pauly, Lyrics: Luis Chaves)
Here I steal from Luis Chaves' book "Chan Marshall". An experiment at applying less filters when writing a song, added to the poem's tone, seems to reveal some of my influences more nakedly. --Mauricio.
Si el año terminara mañana
nos ahorraría esa sensación
de perder el tiempo.
El error no explica
la imagen de tu madre
[bailando la cumbia
como si fuera un rocanrol.]
No es --dice cada uno-- que no te entienda.
Aunque eso parece.
(bis)
¿Será cierto que cambiamos?
¿Podrá ser que tardamos en hacerlo?
Queda ponerse al día,
medir el tiempo en meses,
consumir una droga tan demodé
[como la construcción de sonetos.]
Aquí no hacen falta palabras,
lo que faltan son ideas.
(Music: Mauricio Pauly, Lyrics: Luis Chaves)
mauricio pauly: voices, guitars, bass, drum programming choma zúñiga: over-chatline drum support
(Music: Mauricio Pauly, Lyrics: Mauricio Pauly)
During my 3-year stay in Miami, I spent more than a few very pleasant afternoon's in a garden with Angel Suarez writing songs for a band called King Bee left Miami and most of these songs disappeared (from my memory also) there is one of them that I have since wanted to work out into something. Something in the way Angel had chosen to solve the melody over the progression I had put together impressed me. For Shrunk to Purple, undeniably an influence of my King Bee years, I steal Angel's graceful solution. ---Mauricio.
sleeping with my coat on,
where is my flat?
shrunk to purple uselessness
not the slightest hint of laughter
make the list and choreograph
our diversions
which just seem but are not
disorganized.
and when he constantly returns
where's the spare room at?
dinner twice a month somewhere
(it's just very very professional.)
See, then what then?
It's knobs and sliders, it's quick and shiny.
Let us get back to the definition:
"I do not do that, not on Wednesdays".
I land on luncheons and feed on foreign friendship,
I clean before refill, I merge and mingle.
We did some waiting, I kept my gesture stable.
Here is my number, it's fake.
this is better than it was before
it just seems but it's not a list of chores,
it's the commitment drill before the ride
where is the spare room at?
please just wait a while somewhere
(why don´t we sit around and wait)
's you refuse to note who's [_or_ who is] whose crutch
well be here shaving whatever growth you've chosen to regret
as long as it
seems to be within choice of memories that you brought along
(Music: Mauricio Pauly, Lyrics: Mauricio Pauly)
mauricio pauly: voices, guitars, bass, drum programming federico reuben: sound design and sample editing danilo reuben: narrator
melody in bridge makes reference to a lost song written in 2000 along with Angel Suarez
(Music: Mauricio Pauly, Lyrics: Mauricio Pauly)
Before starting to put together a clean version from the messy draft, I recorded this one-man version in order to understand the song as such. The spoken parts are readings of the web-chat I was having with Gabriel at the same time.--Mauricio
mauricio pauly: voices, guitar, desk percussion melody in bridge makes reference to a lost song written in 2000 along with Angel Suarez
(M. Pauly)
words borrowed from Vladimir Nabokov's 'Ada' This song was put together within 3 afternoons during the summer of 2005 in our flat in Budapest
(M. Pauly)
mauricio pauly: voices, bass, guitar, desk, clapping, drum and sample editing ospino: drums
This recording is, partly, the actual draft of the song. Later that summer, during Mauricio's visit to Costa Rica, drums and vocals where recorded in Ospino's (drummer of Bruno Porter) studio in Costa Rica with Gabriel's assistance.
(M. Pauly)
words borrowed from Vladimir Nabokov's 'Ada'
mauricio pauly: voice, guitar, clapping, laptop federico reuben: piano, bass chiki: cajón
Shortly after our initial reunion in The Hague at the Institute of Sonology course in the Hague, NL, we agreed to play at a sonologist's concert party organized by Korean performer Byungjun. Chiki "Guillermo" Badilla joined us from Brussels that weekend for the performance.
DOWNLOAD video (mp4)[music: Mauricio Pauly, lyrics: Gabriel Montagné]
Cerciorándonos cada uno
de que no estamos vos o yo.
Nos inclinamos sobre el lavatorio
el canear propedéutico
es la nodia que nos dobla despacio.
Abrimos la joroba del carro
y sacamos los metates del otro
Nos inclinamos sobre el lavatorio
el canear propedéutico
es la nodia que nos dobla despacio.
El fuego que quema mis tenis
alumbra tu camisa.
Pangas pegan sus panzas
sobre la arena
en la caricia
de ser posible
en le entrega final
culiarte duro.
words borrowed from Gabriel Montagné's "Reposo Test Reposo"
[music: Mauricio Pauly, lyrics: Gabriel Montagné]
mauricio pauly: voices, piano, bass, percussion and sample editing. this version includes some of the original tracks of the Budapest draft version plus newly recorded tracks and better washed and more carefully trimmed samples.
[music: Mauricio Pauly, lyrics: Gabriel Montagné] original draft version recorded in Budapest during the Summer of 2005.
mauricio pauly: voices, piano, bass, percussion and sample editing katalin takács: piano (left-hand!) in bridge.
[music: Mauricio Pauly, lyrics: Gabriel Montagné] this was recorded in an afternoon in the dinning room of our flat in the The Hague as a first step towards the cleaning and bettering of the draft version.
mauricio pauly: guitar, voice
(music: mauricio pauly, lyrics: mauricio pauly, federico reuben)
it´s not too often that one scribbles condescending notes
but he just cannot figure out her code_load_
she wishes it was irritation but, you see,
he´s wiped the semen custard from his little pants
(en eso llegué yo y le metí una culiada...)
he's maybe landed late he landed late
(me gusta bonito)
we have trimmed (off?) whatever was left implied
leaving nothing but the obvious behind
and labeled what we lacked as genuine reasons to give in
(music: mauricio pauly, lyrics: mauricio pauly, federico reuben)
this is a remix and re-structuring of Little Pants which attempts to correct the song vs. production problems of the first version. mauricio pauly: voices, guitars, bass, tenor recorder, drum programming
federico reuben: sound design, soprano recorder, harpsichord, synth
(music: mauricio pauly, lyrics: mauricio pauly, federico reuben)
this draft version suffered from too much deliberation. Nevertheless, it has some special moments: hear for Federico's virtuoso cut-and-paste drum solo near the end.
mauricio pauly: voices, guitars, bass, tenor recorder, drum editing federico reuben: sound design, soprano recorder, drum solo editing, harpsichord, synth drum samples taken from recordings originally made by Ospino for Poor L.
(F. Reuben)
words borrowed from Vladimir Nabokov's 'Transparent Things'
mauricio pauly: voices, theremini solo, bass, glockenspiel federico reuben: prepared piano and piano preparation, bass and glockenspiel editing ron: piano, voice and glockenspiel recording
Recorded by Ron in his house. Ron let us borrow his house and his piano for our first rehearsals in The Hague. Federico spent one of these rehearsals preparing the piano for Odd Spots. What was intended to be a key by key sampling of the prepared piano for live performance was turned, thanks to Ron's motivation, to a recording of the complete song.
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