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Spoiler {Otac​í​lio Melga​ç​o} [duration 01​:​03​:​54]

by Otacílio Melgaço

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S p o i l e r

O t a c í l i o M e l g a ç o

[duration 01:03:54] all rights reserved

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The artist Otacílio Melgaço has two official curators in the virtual world. A curator (from Latin: ´curare´, meaning ´to take care´) is a manager or overseer. Traditionally, keeper of a cultural heritage institution (e.g., gallery, museum, library or, as the present case: sound archive) is a content specialist charged with an institution's collections and, highlighting the context in force here, involved with the interpretation of personal (heritage) material. Both, Mr. Paz and Mr. Campbell, are, therefore, reviewers of the Melgacian works. To learn more about their missions, tasks, assignments and responsibilities by means of valuable informations regarding the compositional process, the performative rhizomes and other special features, just click the following link: otaciliomelgaco.wixsite.com/preamblebypsp
(O.M.Team; P r e l u d e)

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"As I already had the opportunity to argue about earlier Melgacian works, Eclecticism is a conceptual approach that does not hold rigidly to a single paradigm or set of assumptions, but instead draws upon multiple theories, styles, or ideas to gain complementary insights into a subject, or applies different theories in particular cases.

In music, Eclecticism can be used to describe the creation of composers who combine multiple styles, such as using a whole-tone variant of a pentatonic folksong over chromatic counterpoint, or a tertian arpeggiating melody over quartal or secundal harmonies. Also through quotations, whether of a style (e.g., Shostakovich: Symphony No. 9), direct quotations of folksongs/variations of them (e.g., Mahler: Symphony No. 1; II and III) or direct quotations of other composers (e.g., Berio: Sinfonia; III).

Taking into account a production as abundant as the Melgacian, some intersectional extravagance is possible and, I think, desirable! ´Spoiler´ reinvents facets of own O.M. compositions (pinched from several previous records, subjected to changes, then unprecedentedly agglutinated) and announces Chefs-d'œuvre in terms of idiosyncratic eclecticism. (By the way, here is the point of confluence with the disc title: the syncretic fragments used announcing in advance the crowned aura of the whole grandiloquent Work - for those who were not aware of it before.) We´re abducted by vertiginous triple vortex; three vortices inseminated with concomitant references to contemporary music, jazz, rock, ethnic elements etc. All this under sophisticated prisms, frictional kinetics, challenging syntaxes. Unlike other instances - in music history - in which there´s a possibility of discernment of the adopted stylistic languages, Otacílio creates a ´house of sonic mirrors´ where everything is metamorphosed, interpenetrated, rewired.

Are odysseys and require breath of adventurous listeners. It could not be different. Every paroxysmal work of art demands more of us. Expels us from comfort zones. Makes us go further. ´Existence is a series of footnotes to a vast, obscure, unfinished masterpiece´, are Nabokov words. Each of the three Pieces herein is a series of notes, noises and silences to a vast, obscure nevertheless finished masterpiece. And besides, after immeasurable hearing - deriving ideas, style, taste from a broad and diverse range of sources -, ´we exist more and better!´" (Pablo S. Paz; Argentinean musicologist)

"A Spoiler is an element of a disseminated summary or description of any piece of fiction that reveals any plot elements which threaten to give away important details concerning the turn of events of a dramatic episode. Typically, the details of the conclusion of the plot, including the climax and ending, are especially regarded as spoiler material. It can also be used to refer to any piece of information regarding any part of a given media that a potential consumer would not want to know beforehand. Because enjoyment of fiction depends a great deal upon the suspense of revealing plot details through standard narrative progression, the prior revelation of how things will turn out can ´spoil´ the enjoyment that some consumers of the narrative would otherwise have experienced. Spoilers can be found in message boards, articles, reviews, commercials, and movie trailers.

Perhaps now even in a record album?

Once again the Brazilian composer and multi-instrumentalist is miles and miles ahead. He raises the possibility of an artist generate a spoiler (as defined above) from ´himself´. Announcing new outcomes of his existing musical propositions, intertwining them.

There are fine irony in the chosen title but more than that. Otacílio gives new meaning to the lexicon.

Think of Art (a projection of existence plus an unborder - if we want: atemporal - extrapolation) and Life as pieces of real fiction. Non-measurable dramatic episodes.

Think that the directions of the plot elements are uncertain.

Think that the details of the conclusion of the plot, including the climax and ending, are unpredictable. We do not know when there will be the climax and if there really an end. Neither through the death. No matter your beliefs or suspicions (are you a religious or atheist, a Gnostic or skeptical), no one has total certainty.

In this case, revealed secrets would be extremely welcome. Because it would help us get rid of possible sluggish obstacles, enabling a visionary fluidity. [If properly decoded and re-contextualized, the aeronautics and automotive spoiler acceptions corroborate this analogy.] Advance disclosure would make us more masters of our enjoyment, even though the suspense of a storyline written every day.

Pleasure before such a script in progress takes on a new level as it makes us more protagonists and less spectators of our own ´chronic history´. Remembering: It´s a metaphor of Life, also of our composure in the face of Art. And, for me, Life is imitating Art. Or should.

´Spoiler´, exuberantly, presents us ultra aesthetic resonant messages that come forward in time; brings spasms which becomes ´futuristic´ however already-present. Back from the future without losing the suspense and yet mystery involved in the depths of O.M. Art, both (suspense and mystery) are fermented and expanded here. And now the golden key: so we reinvent our present, more aware and auspicious. Finally and from what I presume, spoiler - under the new connotation - is an open sesame to be a little above the limits imposed by Κρόνος (Kronos).

Accordingly this would make us less ephemeral, more absolute?

The controversial Francis A. Schaeffer on one occasion said that in passing we should note this curious mark of our age: ´The only absolute allowed is the absolute insistence that there is no absolute´. Otacílio Melgaço certainly contradicts this supposed mark. When we absorb the ubiquity (through the form of intuition or sensation or rationalization...) of his eclectic creations, we´re led to say: Yes, there´s the Absolute. His and our Absolute! The Absolute that Art can or bring to fore or give birth. From now on, his and our ´spoiled´ Absolutcity - reframed ´spoiled´ while ´go further and be able to return to narrate, at least based on an incalculable plot, flashes of what's to come - with the intention that our present becomes more omniscient and able to point to more gleaming, shining ulterior directions´, in other words, a ´messianic tentacle´ of a detachable artist before the Geist & Zeitgeist!

Zeit & Geist of which Mr. Melgaço is one of the genuine builders." (Caio Campbell; Anglo-Brazilian semiologist and musician)

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I- Spoiler (aeronautics), a device to reduce lift in aeronautics; Spoiler (automotive), a device to modify air flow in order to increase fuel efficiency or improve handling in automobiles;

II- Keeping the eclectic spirit, ´The Man Who Fell To Moon´ mentions ´The Man Who Fell to Earth´, a 1976 British science fiction film directed by Nicolas Roeg. The film is based on the 1963 novel of the same name by Walter Tevis, about an extraterrestrial who crash lands on Earth seeking a way to ship water to his planet, which is suffering from a severe drought. The film maintains a strong cult following for its use of surreal imagery and its performances by David Bowie (in his first starring film role), Candy Clark, and Hollywood veteran Rip Torn; ´Musik i Mörker´ (Music in Darkness), a 1948 Swedish drama film directed by Ingmar Bergman; ´The Spirit in an Unspiritual Age´, from one of the giants of European literature, six essays never before published in English. Hermann Broch achieved international recognition for his brilliant use of innovative literary techniques to present the entire range of human experience, from the biological to the metaphysical. Concerned with the problem of ethical responsibility in a world with no unified system of values, he turned to literature as the appropriate form for considering those human problems not subject to rational treatment. Late in life, Broch began questioning his artistic pursuits and turned from literature to devote himself to political theory. While he is well known and highly regarded throughout the world as a novelist, he was equally accomplished as an essayist. These six essays give us a fascinating glimpse into the mind of one of the twentieth century's most original thinkers.

...for purposes of pragmatism and clear exegesis,
quotes have Wikipedia as a source...

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Between two parentheses...
(Atonalism, Twelve-Tone, Serialism, Musique Concrète... Acousmatic. Eletroacoustic. Magnetic Tape. Expressionism, New Objectivity, Hyperrealism, Abstractionism, Neoclassicism, Neobarbarism, Futurism, Mythic Method. Electronic...Computer Music, Spectral, Polystylism, Neoromanticism, Minimalism and Post-Minimalism...are addressed by Melgaço. Paradoxically New Simplicity and New Complexity also.
Art Rock, Free Jazz, Ethnic Dialects, Street Sounds are occasional syntax elements.
All the possibilities mentioned above and others that were not mentioned are the usual accoutrements of the composer/instrumentalist to establish his ´babelic´ glossary. We can prove this in a short passage of a single composition up along the entirety of a conceptual phonograph album. All distributed over a career and idiosyncratic records. Have we a universe before us and I propose to see it through a telescope, not a microscope.
I propose not handle very specialized topics here. Otherwise would be, with the exception of musicians and scholars, all hostages of a hermetic jargon. Because more important is to present Otacílio Melgaço to the general public and not to a segment of specialists. Faction of experts not need presentations, depart for the enjoyment beforehand. For this reason there is no niche here for intellectual onanism and encrypted musical terminology. The reason for these parentheses is to establish such elucidation. The non-adoption of technicalities leads to more panoramic, amplifier reviews. Are You always welcome. Those who do not dominate contemporary music and are introduced to the world of ubiquitous O.M. [autodidact and independent artist who, being more specific, does not belong to schools or doctrines; artist who makes Music and that´s enough; music devoid of labels or stylistic, chronological, historical paradigms or trends] and Those who belong to the métier and turn to enjoy propositions they know and also delving into advanced Melgacian sound cosmogonies...
I conclude poetically. ´Certeza/Certainty´ by Octavio Paz. ´Si es real la luz blanca De esta lámpara, real La mano que escribe, ¿son reales
Los ojos que miran lo escrito? De una palabra a la otra Lo que digo se desvanece. Yo sé que estoy vivo Entre dos paréntesis.´ If it is real the white light from this lamp, real the writing hand, are they real, the eyes looking at what I write? From one word to the other what I say vanishes. I know that I am alive between two parentheses.
We´re all more and more a-l-i-v-e now.)
- P.S.P.

credits

released July 7, 2015

Hear more here:
soundcloud.com/otaciliomelgaco

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O t a c í l i o
M e l g a ç o {conception | composition | arrangement | synopsis | instrumentation | orchestration | engineering & sound design | art design | production | direction}

Special Guests: Nausícaaa Ensemble | Zycluz Quartett

Estúdio Yoknapotawpha/BR + Unidade Euromobile

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Otacílio Melgaço Belo Horizonte, Brazil

Composer, Arranger, Conductor, Multi-
Instrumentalist
from
Minas Gerais,
Brazil.
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Official (English) Site
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"Music is like a bewitched Mistress." (Paul Klee)
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