InFiné. Mx

Lost in Time is the live show that Murcof will present at the Muséu del Pueblu d’Asturies, as part of L.E.V Festival’s program. A big section of this show will come from the soundtrack that he composed for the film of the same name by Patrick Bernatchez , in which he collaborated with the choir DES PETITS CHANTEURS DU MONT-ROYAL. The material, though highly processed, is based on Bach’s Goldberg Variations.

Fernando Corona, aka Murcof, has established himself as one of the founding fathers of the contemporary electronic avant-garde since the release of “Martes” in 2002. With each piece, the Mexican sound architect disrupts the parameters of space and time while cultivating a musical bouquet that is as organic as it is electric and blooms almost instinctively when transposed to the big screen. 

The story of InFiné and Murcof began with the label’s first release. In 2007, in charge of post-production for “Not For Piano”, Murcof propelled the ivory notes of Francesco Tristano’s album into the cosmos before they both set off on a European tour as a duo. At our second yearly summer workshop in 2010, which took place in Tercé near Poitiers, Murcof coated the walls of the Normandoux quarry with peculiar acoustic textures during a singular musical dialogue with pianist Vanessa Wagner and cellist Sasha Rozhdestvensky. It is therefore with great pride that InFiné welcomes to the family this completely new version of the soundtrack to the film “La Sangre Iluminada”. Initially composed and re-edited for the occasion by Murcof, this vinyl-exclusive LP was mastered by another sound sorcerer, Rashad Becker, from the Dubplate studios.      

The film, directed by Ivàn Dueñas in 2009 and inspired by Jose Carlos Becerra’s poems, tells the story of six characters who mutate into new bodies. Deep down, all six keep traces of their past lives, of the former bodies they miss; deep-seated nostalgia has a strong hold on them. The vast Mexican desert combines with Murcof’s vaporous soundscapes to form the backdrop of a tale hovering between tragedy and science fiction, which unfolds in a timeless world devoid of points of reference. The narration moves from one character to another, and the characters from one body to the next, guided by the themes Murcof has created, which may remind his most faithful followers of his “Remembranza” period(released in 2005 by Leaf).  

Unsettling leitmotifs, like the recurring images of crossroads, electric cables and aeroplane vapour trails punctuating the sky as their paths cross: Murcof creates a world of sounds in perfect osmosis with the distress of the characters. Lyrical, dream-like and graceful, Ivàn Avila Dueñas’ images and Murcof’s score become one. Minimalistic, abstract and refined, the fruit of their association is fascinating, giving both listener and spectator access to emotion in its purest form.