Techne is a brilliant contemporary experimental pop-dance release structured around the enchanting dyslexic lines of Renata Anaya’s mermaid-like voice anchored to performer and producer Daniel Jeffs' contagious techno foundation with an abyssal bass that springs to the foreground right from the opening of the first track.
Aoraquï reinvents the ancient Greek word techne to make what we safely may call techne music. Knowledgeable and experienced improvisers, Aoraquï presents us with a healing, sonic apparatus that extracts the secrets buried deep inside the human mind. Secrets that have been concealed by our rugged and dizzying contemporary times where dogmatism aspires to be true knowledge and where the human voice is pushed into exasperation and ultimate silence, as lingered on by “…sea-girls wreathed with seaweed red and brown” (TS Eliot, “The Love Song of J. Alfred Prufrock”).
Originally recorded September 2013 on the quiet shores of the idyllic fishing village Cocholgüe in southern Chile, Techne was almost entirely reassembled in Santiago during the storms of August 2015. While 2016 marks the 400 years since Shakespeare’s death in England, it will also be the year when sweet Ophelia’s voice finally rose dancing, freed and redeemed in that mysterious stripe of land South America called Chile, by the means of Aoraquï’s organic, electronic waters.
released March 11, 2016
Composition: Renata Anaya y Daniel Jeffs
Recording and mix: Juan Andrés Cádiz at Castillo Sonoro, Santiago, Chile
Mastering: Francisco Holzmann at Clio, Santiago, Chile
Artwork: 'Agua Libre' by Paula Garrido Miranda
Thanks to Germán Estrada, Chachi Baeza, Estudio Pájaro, Rodrigo Cortes, Martin Gubbins, Sairestudio
For Renata Anaya, music was present from the beginning in her primary school's exceptional focus on the arts on many levels. Later she ventured into jazz and vocal improvisation, to continue studying electroacoustic composition at Paris' Conservatoire Nationale de Pantin, now Conservatoire à Rayonnement Départemental. For her thesis she investigated traditional forms of singing from around the world as she would discover them in Médiathèque Musicale de Paris’ extensive collection. It is the sum of these influences that has given rise to her very personal and fascinating phonetic singing.
Daniel Jeffs undertook formal studies in guitar and formed part of various rock bands but quickly took interest in the electronic sounds of the 90’s industrial music. This lead him to developed a passionate relationship with this novel musical universe of electronic music and its many genres and sub-genres. But his work was always marked by a preference for experimental dance music, making the party and its never-ending quest for sensory immersion and Dionysian indulgences of primary importance.
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