#Carmen Burguess

[tragicallybroken]

Carmen Burguess - Seventeen

Collages realizados por Carmen, Seventeen. Diecisiete portadas de la revista Seventeen modificadas a pura sangre y gore.

[hijadelviento]

|| Hospital Lullabies, 2019. Mueran Humanos.

[zattirizat]

Mueran Humanos’un üçüncü albümü Hospital Lullabies Cinema Paradiso tarafından yayınlandı

İlk uzun çalarını Old Europa Cafe’den yayınlayan, Carmen Burguess ve Tomas Nochteff’in oluşturduğu Berlinli duo Mueran Humanos, üçüncü uzun çalarları Hospital Lullabies’i Cinema Paradiso etiketi ile yayınladı.  Carmen Burguess’in aynı isimle çektiği filmin bir parçası olan albümü aşağıdan dinleyebilir ve bandcamp üzerinden edinebilirsiniz. Mueran Humanos - Hospital Lullabies 

Hospital Lullabies by Mueran Humanos

[hugehefner]

Siempre es motivo de alegría encontrar una banda Latinoamericana con personalidad y de vocación artistica. Si bien Mueran Humanos no está inventando la rueda, su propuesta tiene suficiente originalidad y ruidos para pararse sobre sus propias patas, no suenan a clon de banda gringa y la energía asesina de las dos personas que tiene detrás transpira en todas sus canciones. Además, sus credenciales punk son evidentes.

Sólo quería escuchar a qué sonaban y terminé parando cualquier actividad y disfrutando del disco de arriba completo.

Esta fue la serie de tuits que me llevó a ellos, agradecimientos al autor:

En estos días vi Vapor una peli independiente argentina y sonó una canción brutal que se escuchaba bien indie alternativo noventoso.

— luisda (@torrejazz) 3 de febrero de 2017

Resulta que en Dios tocaba Tomás Nochteff quien ahora es la mitad de Mueran Humanos a los que veré el 17. Guevoná de timing.

— luisda (@torrejazz)

February 3, 2017

Carmen Burguess y Tomás Nochteff residen  en Berlín. Yo que ustedes iría a verlos, si estuviera en Argentina.

Más info --> http://mueranhumanos.com/dates/

[dustedmagazine]

Mueran Humanos — Hospital Lullabies (Cinema Paradiso Recordings)

Photo by Pilar Gost

French philosopher Georges Bataille’s observation  “All eroticism has a sacramental character” seems apt in the case of Berlin-based Argentinian duo Carmen Burguess and Tomas Notcheff. As Mueran Humanos (Die Humans) their latest album Hospital Lullabies is a thrilling concoction of electronic, industrial, bass-driven body music fuelled by the transgressive spirit of a DAF or a Psychic TV. The pair shares vocal duties and use drum machines, synths, tapes, samplers and Notcheff’s bass to construct seven propulsive tracks over an all too brief 38 minutes.

There is a formality and ritualistic power to these songs. Performed in Spanish, the language barrier melts before the passionate drama of the music. Sex and the profanity of joy has always been at the root of popular music’s rebellious appeal and religious counter-reaction but it is still shocking and exciting to hear something that sounds erotic and dangerous instead being belabored by braggadocio about mechanics and prowess. If love is a form of prostration before the unknowable and self-sacrifice a secular form of abnegation before God then it’s a quest best undertaken by two simpaticos. Burguess and Notcheff embody the divine in the human rather than seeking the human in the divine. Hospital Lullabies is chemistry and trust, a celebration and expression of the physical. Blood pumps, sweat drips, muscles ache, bodies mash. The music exhilarates.  

“Alien” is propelled by a New Orderish bass line so deliciously low-slung filthy it could bring a blush to Peter Hook’s cheek. Notcheff and Burguess enter in unison as squelching squalls of synth and noise fill the interstices between the bass and voices before Notcheff alone pleads “Doctor, Doctor/Now an explanation/Or a cure/For this little station of love/In outer space/ Doctor, Doctor/Now an explanation/Or a cure/For this little station of pain.”  

The album’s longest track “Guardián de Piedra” (Stone Guardian) features a motorik rhythm and what sounds like heavily distorted bagpipes being stomped to death in some “Sister Ray” black mass.  

An accompanying film, directed by Burguess, is also well worth attention with its ghostly fetishistic ambience and allusions to the veils the subconscious draws between desire and guilt, reason and ecstasy. Hospital Lullabies is a record resplendent with all the mess, contradictions, questing, drama and excitement of being complicated beings with simple needs.  

[alterna2mag]

El aquelarre de Mueran Humanos y Auto Sacramental

Guiomar Fernández

Madrid, domingo por la noche, Sala Siroco. Bajamos las escaleras de este mítico local para adentrarnos en el mundo fantástico de “Hospital Lullabies”, el tercer largo que Mueran Humanos habían ido a presentar a la capital.

Pero antes, nos encontramos con Auto Sacramental. Jorge Mills es el responsable de este proyecto que se define como “synth-pop ultra melódico para exorcizar los demonios de un futuro post-franquista”. Su EP debut, homónimo, que apareció a comienzos de año en el sello Triunvirato, no puede estar más de rabiosa actualidad. Cortes como “Arde” y “Sierra Norte” nos trasladan a una España negra maldita. Un sonido electrizante el de este trabajo, que ha contado con la mezcla y masterización de Guille Mostaza.

Metidos de lleno en un ambiente tenebroso, recibimos con los brazos abiertos a Carmen Burguess, Tomas Nochteff y su “Hospital Lullabies”. El pasado 5 de julio publicaron este LP a través de Cinema Paradiso Recordings. La presentación vino acompañada del lanzamiento de una misteriosa película creada por la propia Carmen. Tanto el disco como el vídeo resumen muy bien la esencia de Mueran Humanos. Su música nos traslada a mundos oníricos y siniestros en los que la oscuridad lo copa todo. Dos días antes de su actuación en Madrid, en su paso por Barcelona, proyectaron el vídeo.

En Siroco, nos sumergimos de lleno en el nuevo LP. “Detrás de una Flor” o la brutal “Vestido”, calentaron el ambiente, que se teñía de rojo sangre por momentos. Tomas fue poco a poco soltándose, viniéndose arriba. En medio de su propio éxtasis tocó evocar un tema ceremonial como es “Guerrero de la Gloria Negativa”, de su aclamado “Miseress” (ATP Recordings, 2015). Tan metido en el papel estaba que se mezcló con el público, literalmente embistiéndolo. Ya de vuelta a la tarima nos ofrecieron más temas nuevos como la genial “La Gente Gris”, un corte en el que la enigmática Burgess se luce entre un sonido dark-electrónico y una voz en off con versos de “Love In The Asylum”, de Dylan Thomas. 

Casi 15 años de recorrido avalan a este dúo afincado en Berlín que se apoya en el DIY, y todo tipo de artes para envolver y dotar al proyecto de estilo propio. Nos lo contaron hace tiempo en una entrevista, y lo hemos ido comprobando en sus intensos directos.

Su temazo “Espejo en la Nada” perpetuó una noche lúgubre que no pudo terminar mejor. La gente pedía “El Círculo” y “Horas Tristes”, y Mueran Humanos nos concedieron ambos deseos.

[musexplat]

Entrevista con Mueran Humanos: "Hay mucho talento y está todo muy disgredado"

Hace más de un año, nos entrevistamos con el dúo Mueran Humanos, conformado por Carmen Burguess y Tomas Nochteff, quienes utilizan métodos experimentales en la creación musical. Disfruten de esta conversación acerca de su trayectoria y mucho más.

Hace más de un año, nos entrevistamos con el dúo Mueran Humanos, conformado por Carmen Burguess (voz, cajas de ritmos, sintetizadores) y Tomas Nochteff (voz, bajo, cajas de ritmos), quienes utilizan métodos experimentales, punk y vanguardistas para hacer su música. Artistas forasteros autoproclamados, Mueran Humanos combinan ruido electrónico con sonidos crudos grabados o prestados, ambos muy…

[m3zcl4d0]

Carmen Burguess y Tomás Nochteff son Mueran Humanos, un dúo argentino formado en 2006 en Barcelona, que desde 2008 tiene como centro de operaciones Berlín. Su pasado es completamente musical, ella había sido tecladista de ‘Mujercitas Terror’ y él parte fundamental de ’Dios’ y ‘Travesti’ una banda con inmersiones psicodélicas y electrónicas. Mueran Humanos no es un nombre hostil, sino al contrario, es un planteo estético, una mirada del mundo por fuera de los límites de lo encasillado, estructurado, propone sacar a todos los hombres y mujeres de ese estado mental que genera la vida ordinaria y robótica. La sonoridad del dúo mezcla krautrock, noise, punk, electrónica e industrial, con canciones en castellano que dan belleza y vida a lo feo, a lo muerto, al drama, siempre con mucha sutileza. (rock.com.ar) Tracklist: 00:00 01 . Miseress 03:28 02 . Un lugar ideal 07:28 03. Mi auto 12:13 04. El círculo 20:12 05. Espejo en la nada 26:07 06. El vino de las orgías 32:47 07. Guerrero de la gloria negativa 37:30 08. La torre de la hora 44:34 09. Epilog

[dustedmagazine]

Listed: Tomás Nochteff (Mueran Humanos)

Mueran Humanos, an Argentinian duo now based in Berlin, mixes post-punk, industrial-inflected synth explorations, garage rock and psychedelia. Carmen Burguess and Tomás Nochteff share vocal duties and play a very basic line-up of instruments: bass, synths, drum machines and samplers. In his review for Dusted, Andrew Forell called their latest, Hospital Lullabies, “a thrilling concoction of electronic, industrial, bass-driven body music fueled by the transgressive spirit of a DAF or a Psychic TV.” Here, Tomás presents his list of visionary music.

A list of visionary music

What is a visionary? Visions can come in dreams, in journeys to other worlds, in hallucinations. They can be the product of will, of a derangement of the senses, or they can come uninvited to save you or to haunt you and destroy your mental balance, even your life. It can be heavenly, or hellish, but to be authentic visions they have to be otherworldly. And to be visions rather than just imagination, they must have an element of truth. Not literal truth, like “that wall is green,” but a different kind of truth, the one that´s expressed in symbols, in metaphors, in omens and obsessions. In “Heaven and Hell,” Aldous Huxley analyzed the visions of people under the influence of psychedelic drugs, the visions of mystics and the visions of schizophrenics. He found fundamental parallels and concluded that they must have been visiting the same places. These people are not merely hallucinating, but they are perceiving another reality, visiting a different world, or maybe they are perceiving the world as it really is. And he quotes Jung on this: “schizophrenics and mystics are on the same ocean, but schizophrenics are drowning and mystics are swimming.” A visionary could be a mix of all these archetypes. Like Philip K Dick: was he on drugs? Yes. Was he mad? Yes. Was he seeking enlightenment? Yes. Had his visions an element of truth? No doubt about it. Were his visions revelations? To some extent, yes.

On our last album, Hospital Lullabies, the songs deal with all these different experiences on the journey to another world and on the invasion from another world into everyday life, with its horror and its beauty, the agony and the ecstasy. And how one copes, or doesn´t, with it.

So to celebrate it, I made a list of music that I do consider visionary. There’s madmen, there’s mystics and there’s psychonauts, all possible combinations of the three archetypes and everything in between.

Pharoah Sanders—“The Creator has a Masterplan” (Impulse)

I don´t know much about cosmic jazz, or any jazz for that matter, but what I know is that this record is pure bliss. “Harvest Time,” on Pharoah is another masterpiece. Alice Coltrane and Don Cherry are also incredible. This is music of the spheres; it has the touch of God.

Rudimentary Peni—CacophonyI (Outer Himalayan Records)

One of the few perfect punk bands ever, for lots of reasons. The bass lines are extraordinary, for example. But they belong here because of schizophrenic member Nick Blinko: incredible artist & novelist, obsessed with Catholicism and the supernatural horror. A guy who stopped his medication to force himself into a psychotic crisis just to write an album. Hero. Martyr.

Nico— “Janitor of Lunacy” (Cherry Red Records)

For me, Nico was the best and more underrated of all Velvets (and we love Velvet Underground as much as anyone). Also, the production from John Cale on her records is probably his best work too, or at least among his best. I feel that she is not appreciated enough. Iggy said that meeting her changed him. I suspect that´s true for all her famous friends: Bowie, Lou Reed, John Cale, Leonard Cohen, etc. They were all larger-than-life characters. And we know there is an element of self-built mythology on all that, a bit of acting. There is nothing wrong with that; rock and roll at its best is a complete artform and we must appreciate this self-built mythology as part of their craft. But with Nico you don´t get that feeling. She seemed that she didn´t care about her image, she was born Nico and I suspect that in that sense she inspired them all to no end. She was the genuine article. One of our main loves in music. Essential with a capital E.

Coil—“I Don’t Want To Be The One”

Jhonn Balance wanted to be a magician, and he died trying. I think he succeed in building a shamanic body of work with the help of the great late Sleazy and a myriad of brilliant contributors. Coil´s music at its best it´s like a plasma between worlds, or a very, very good psychedelic drug. My most beloved electronic/industrial/post-industrial project ever and one of our main influences. This performance is superb.

Lungfish — Feral Hymns

I´m not interested in DC post hardcore per se, and I don´t have any tattoos. I shouldn´t care about Lungfish the way I do, but they knock me out every single time. Daniel Higgs is a seer. I don´t know what he is talking about, but at the same time, my gut knows exactly what he is talking about. He speaks in images, like Tarot, like the religious painters, like Rimbaud and San Juan de la Cruz. His delivery is supreme. Raw and fragile, yet powerful and precise. Over circular, repetitive, minimal structures of music that have a haunting, arresting effect. Hypnotic, magical, devotional music. Either you get it, or you don´t. I can´t explain it. That´s the beauty of it, I suppose. And the truly mark of the visionary artist.

Ghedalia Tazartes—“Une Éclipse Totale De Soleil Part 2”

Ghedalia for me represents the pure, untouched, sui generis artist. Applying the techniques of musique concrete to the ancient folk music of the Sephardic Jews with a raw energy that usually you can only find in punk, or blues. I see in him an archetype, the Fool card in the Tarot. The madman that opens the gates of heaven and hell, gives himself to these supreme energies and survives only because of his perfect innocence.

OM—“Sinai (live at Sonic City)”

Maybe the greatest rock band of the last 20 years. Here with Robert Aiki Aubrey Lowe to maximum effect.

Charlemagne Palestine—Live in Holland 1998

Like Ghedalia, Charlemagne Palestine is a Jewish artist that works in the avant garde field but subverts it with the tradition of his folk music instead of sticking to the cold, cerebral, rational program of academia. He has his own world. Watch this and you will understand what I am talking about.

Virgin Prunes—Excerpts from Sons Find Devils/“Walls of Jericho”

There is a VHS tape called Sons Find Devils, comprised of live shows and short experimental films (some of them made by Balance, from Coil). I had it as a teenager and watched it countless times. Sadly, it is not complete on YouTube or elsewhere but here are some small extracts. With their heretic mix of Irish Catholic imagery, Irish Paganism, Bataille, performance art and post punk, the Virgin Prunes made a unique and extraordinary body of work. A testament of its importance is that Gavin Friday was guest singer of two bands in this list: The Fall and Coil. And Mr. Scott Walker himself invited him to sing on a play. Maybe the historians ignore them, but Mark E. Smith, Scott Walker and Coil knew where it’s at, didn´t they? Their record If I die I die is a masterpiece. Produced by Colin Newman from Wire, no less, if you need more validation.

Boredoms—Vision Creation Newsun

I like some of the more comical, early work of Boredoms, but with Super AE and this one they got me. They got serious and spiritual, channeling Alice Coltrane, tribal drumming, kraut rock and noise into a glorious, euphoric sound. Maybe they are not visionaries, but their music can produce visions. I saw them around 2005 (on acid) with the three drummers line up, still in this phase. I remember thinking “this is what cavemen had in mind when they invented music.” I actually saw it, with my eyes closed. Early humans. In caves. Inventing music. God bless LSD.

Aphrodite´s Child — 666

The one record I bought for the cover only, it cost me 50 cents, best deal of my life. A concept album about the apocalypse. Easy contender for the best psychedelic rock album of all time. Pet Sounds? Get outta here. An absolute masterpiece.

Tim Buckley—Starsailor

Tim Buckley is a mystery. He died too young. How he went from his L.A. folk rock first album to the absolute unique sound of Starsailor and Lorca is impossible to understand and a miracle of music. All six records in between are masterpieces. He was possessed by genius and has the most beautiful voice. I don´t know much about him, but his music put me out there.

Sun Ra—Night Music 1989

Watch this. Space is The Place, indeed.

Pescado Rabioso—Artaud

This guy, Luis Alberto Spinetta, is considered by many to be the most important rock musician in my country. So being an arrogant teenage punk, or whatever, of course that alone was enough to reject him altogether without even thinking. But a couple of years ago I was blown away by a book of poems he published in 1978. Incredibly beautiful, unique and sophisticated poetry. I recently started, too late, to listen to his music. This is one of his most famous and revered records. It´s dedicated to, and inspired by Antonin Artaud, who tried and failed to reach the mystic enlightenment, generating a body of work in the process which is a testament to his spiritual ambition, his radical rejection of the material world and his pain. Spinetta understood this, he said the record was trying to find an answer to Artaud, a way out of it, a way out of the pain. It´s psychedelic music of the highest order. The lyrics are incredible but you can enjoy it even without understanding them.

Dead Can Dance—Dyonisios

I kept forgetting this band exists. This new album is great. I listened to it non-stop during last Winter/Spring. It´s the perfect time because the record is about Dyonisios, so as a soundtrack for the rebirth of Nature it´s perfect. Probably their best work in years. Sublime.

The Fall—“Garden” (Live at the Hacienda, Manchester, UK, 1984)

No list of visionary rock and roll would be complete without Mark E. Smith. Famously he said, “I used to be a psychic but I drank my way out of it.” Indeed, there was a time, between 1978-1990, when he was possessed by something, injecting realism with mysticism, mixing high and low planes, exposing the supernatural forces that hides in the cracks of everyday life. He never talks about hell neither heaven, but rather the way they mix and manifest here on Earth. You’ve got countless of bands using occult/mystic imagery, and you know it´s nice but it´s just a game. You’ve got thousands of bands referencing Burroughs and the cut-up technique, but no one can write as Burroughs did. MES did it. MES wasn´t playing. He was a realist of the augmented reality, he told it like it is, in his fragmented, hallucinatory, unpretentious, visionary prose poetry.

There is a lot in his lyrics that can be read in a mystic, occult way. He left a lot of clues for the ones that can read them. His texts are kaleidoscopic, and they reflect what´s in your mind, really. I think he will be recognized with time as the great experimental writer that he actually was rather than merely an angry Mancunian punk. He had more in common with someone like Iain Sinclair than with any other rock musician. One of my favorite web sites is The Annotated Fall, where fans analyze his lyrics in depth. Pay a visit if you can, I can´t recommended it enough. In many ways, he was too intelligent for rock and roll, and that´s why he was misunderstood, but he didn´t care, he believed in constant work, never explain, never apologize. The Fall took all the best things in rock and roll: Can, Velvet Underground, punk, Captain Beefheart, and pushed it to the next level. Our favorite rock group ever.

Huun Hur Tu — “Prayer”

I tried to stick to Western, modern music but I can´t help including this.

[mdrngoth]

An absolutely stunning spring-time-MDRN GOTH-perfect mix tape made by Mueran Humanos (Carmen Burguess and Tomás Nochteff) for Radio Corax (Halle, Germany), you can listen to the whole program here: https://soundcloud.com/kotzboy/mixtape-by-mueran-humanos Track List: Einstürzende Neubauten - Halber Mensch Throbbing Gristle - Almost a Kiss Travesti - El Rumbo del Brujo Deutsch Amerikanische Freundschaft - Prinzessin Suicide - Shadazz The Fall - My New House Mujercitas Terror - Mujercita Blue Dome - Cruel When Complete Nico - Janitor of Lunacy Public Image Ltd. - Blue Water Los Corrosivos - Frutos del Huerto Swans - Better than You Nick Cave & The Bad Seeds - From her to Eternity Marianne Faithfull - Why d'Ya do It

[trino-crea]

[hijadelviento]

Qué noche no rezo para que entres

            por mi ventana y me lleves entre las flores. 

[inspirationaljunkyard]

Carmen Burguess

[jaljublju]

Autorretrato / Self Portrait by Carmen Burguess on Flickr.