8 Sound Pieces for the Apocalypse
Selected by Odete
On revelations and muddy becomings is a new work by Odete, with collaborations by Herlander, Tita Maravilha, Kahumbi, Aicy Ray, Mario Mu, and DRVGジラ.
Kenjirou Matsuo — August in the Water (1995), original soundtrack, Japan, 1995.
This song is part of the soundtrack for August in The Water, a movie by Sogo Ishii. Recommended by my artist friend Alice dos Reis, this film has become one of my favourites. I keep re-watching it and I think its music deeply influenced the way I have imagined this new project and its expressions of esoteric mystery and mysticism. It’s as if there was something lurking, calmly, in this atemporal sea of fossils and aliens. Something coded, like a message. A melodic message.
Yikii & Dasychira — Bubble Wrap Armor, unseelie, New York, 2019.
These two are my obsessions. They are both amazing producers and we can see by this song how they convey a childish feeling and imaginary with something disturbing — the feelings you take from your childhood experiences to understand your present reality. This is something vital to me, especially when it comes to magic and politics.
Ecco the Dolphin
Spencer Nilsen — Sega, Tokyo, 1992.
In concordance with the new age vibe of the first track, I now suggest and present to you, Ecco the Dolphin, the most amazing character in video game history. A dolphin on a quest to save the planet, while at the same time dealing with secrets and its ancestral roots. How brilliant is that? Not only does this soundtrack allow you to create empathy with a non-human character but it also makes you aware of ecological disaster.
Love is War
Supercell feat. Hatsune Miku — supercell, Sony Music, Tokyo, 2009.
This one goes out to the fans of the immaterial – the non-bodies. The gender pitch hackers, the digital punks, the vocaloid dreams of the end of the world!
DRVGジラ — CHAINS, Rotten / Fresh, Lisbon, 2019.
This track was created by one of the collaborators in my new project, On revelations and muddy becomings. I keep going back to it, because it feels as dirty as ethereal in its digital impression. Almost as if I was my own avatar and was listening to the soundtrack of my dangerous leaps into the internet.
If you give it to me what’s luv got to do with it…?
Herlander — Air, Fire, Earth and Water Benders Unite, aa.vv., Lisbon, 2020.
Also created by a collaborator of this project, this is the R&B that makes me feel my body. And this feeling of Bodyhood is also an important part of the project and why I invited Herlander to collaborate on the music.
Typo de Mulher
Tita Maravilha — 001_Resistance, aa.vv., Troublemaker Records, Lisbon, 2020.
Do I need to say anything about my fellow comrade, Tita Maravilha? Also a collaborator, she is the epitome of the performer – she is sagacious, she slays, and embodies her criticism as I have never seen anyone in Lisbon do. Tune into her track to get a feel.
Puta da Silva — Lisbon, 2020.
This is my final one, not only because I made the beat but also because I think Puta da Silva will become vital to Lisbon’s music scene. Furthermore, it's along the lines of the project — she inscribes herself into the scene through her own magic practices, reclaiming trans and black power. Bringing forth black magic, she is power itself.
A multidisciplinary artist, Odete (b. 1995, Porto) develops a body of work that operates in the field of music, visual arts, performance, and theatre. Her work is explicitly autobiographical, making clear the connections between personal and political. In 2013, she graduated from ACE (Contemporary Drama Academy) in Porto, where she attended the performative arts course, in the field of Acting. Currently, Odete is researching secret societies, new ways of thinking archaeology, and science fiction. In this conversation, she speaks about manipulating history, identity, and the immateriality of music.
Odete is the winner of the first edition of RExFORM – International Performance Project, that is born of the collaboration between maat and BoCA, with the intent to promote contemporary artistic creation, following the evolution of the concept of performance, understood as a collaborative practice with ramifications that involve new concepts of theatricality, choreography, and medium. The artist proposes to present at maat a performance which “breaks the performative exposure that transforms our bodies in merchandise, to lie about history so we can reshape the future”. It’s the culmination of a piece about shadows and politics that Odete has developed since she started creating.
Untitled © Odete.