ARCA at the Bowery Ballroom. Body music for the active mind.
Let me quote the adjectives and thoughtful musical descriptions of Jon Pareles in the New York Times on ARCA and let me recommend you the whole article: Arca, Valued Facilitator, Steps Out Front: Crashes, whooshes, sampled screams. Mournful minor chords, dissolving into distortion or receding into single notes and silence. Deep throbs of bass under splintery percussion. Ghostly processionals. Zaps of static, metallic scrapes, hovering insectlike buzzes. Slowed-down, half-melted hip-hop beats. Floating falsetto melodies under siege from stop-and-start chords. A synthesized cumbia mixed as if its tune were being intermittently obscured by clouds. Breakneck drum programming under orchestral strings.
To us we can only subscribe point by point what said Pareles, because is that last Wednesday we witnessed in a great ceremony of discovery. Of new sounds, rhythms, and attitudes, from the body to the mind, from the pace of the anxiety, from the breath until the interrogation and guffaw. An intense synthesis of carnality coupled with sound waves capricious beyond all expectation.
And on top of that, the creativity of Ghersi, a creature without sex floating on their platforms between curtains of metallic sounds, treble, hurtful and angry at the same time. Digital meat and metamorphosed from the shadows of the projector -thanks to the creativity of Jesse Kanda-. Even if only because the surprise, for having created new atmospheres, for having questioned about the music, the sound, its future, it would have been worth it. But our intuition says that there is still much, much more in the future of this Arca, an artist of the unpredictable sound, browser of new emotions.