Miguel Cabral
Latacantante

Rudimentol Records 2003
(Rud CD001)

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Latacantante - the instrument is a kind of electric banjo, built from a biscuit tin (Danish Butter Cookies-Nabisco), with two strings (electric guitar); the amplification is made through a cheap microphone inside the tin. The ten main tracks were originally recorded on vintage tape recorders, and post-produced on computer. Latacantante (that means something like «singing tin») "tells" a story of someone that suddenly became conscious of his condition: canned; stucked inside himself, metaphorically speaking.


Music by: Miguel Feraso Cabral
Electrified biscuit tin with 2 strings, effects.

Track list:

01 3:24 (cro) face it
02 4:43 (tei) canned
03 1:47 (ral) dissection
04 1:19 (dug) remember
05 1:15 (taa) try to sleep
06 1:27 (moj) forget, rest a little
07 4:13 (oeu) face it again
08 3:27 (zan) and again - tired
09 7:39 (pek) struggle and let it go
10 0:46 (tat) too late


41'24"

Recording and mixing: September 2002
Produced by Miguel Feraso Cabral


Reviews


LATACANTANTE


Another interesting release by Miguel Cabral, this particular one is centred around a biscuit metal box fitted with a neck and two strings, resulting in a sort of amplified primordial banjo. Through his studio effects Miguel shows a variety of approaches to this strange instrument: detuning up to the lowest range, arpeggio, pizzicato, radical transformation of sound to the point of total non-entity. Cabral works his personal way to improvising and composing in a record not easy to define; I detect a basic passion in this man's vision that's much more appreciable in these times of undeserved credits to hollow last-hour participants.

Massimo Ricci, in Touching Extremes - 2003


LATACANTANTE


I didn't look at the cover for a while, when this CD was playing, and I thought they were guitars improvisations. That's jolly good to know, since I wouldn't expect this to be a tin can with two strings and effects. More like an all spaced out heavy electric guitar jam. Crazy stuff for some forty minutes, but since it's chopped into eleven tracks, which sound like a quite varied bunch, this is actually much nicer than I anticipated.

Frans de Waard, in Vital Magazine - 2003

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