TODOTODO - Tecnodelia · Tendencias (1980-1981)

Limited edition of 350 copies.\r\nIt includes double inner sheet 350g printed double-sided and blue DIN A4 sheet with extra information. \r\n\r\nTODOTODO was a Technorchestra which emerged on the music stage at the beginning of the eighties, just when Techno movement was the dominant one in the European music framework.\r\nAlthough its influences were much wider, the three members in TT were absolutely committed to the contemporarity of Techno music language and its possibilities. Every third of the trio was, in itself, an open door towards creativity and each one was concerned with a different view of the same reality, to which, through different ways, they wanted to reach all together with every song they wrote. Francisco _¢‚Ǩ_ìPaco_¢‚Ǩ¬ù Garc_ɬ_a, in an impossible get-together with Truman Capote, Andy Warhol and Erik Satie, translated into numbers the stave graphology, almost in a cabalistic way. Pedro _¢‚Ǩ_ìPequi_¢‚Ǩ¬ù Vidal, between Nijinsky and Isadora Duncan learnt the discipline which gives pomp and circumstance to the mise-en-esc_ɬ®ne, the live. Carmelo Hern_ɬ°ndez, not far from Debussy, spied with his binaculars, from a terrace in Montmartre, to The Queen Kelly. Yes, they were three boys un peu compliqu_ɬ©s. \r\n\r\nActually, TT was the consequence of the melting of three strong characters, with a great team-work capacity, and incredibly charming as a corporate organization. A non-musician, as he is defined, with an IQ remarkably above the average, PacoGarc_ɬ_a. A professional musician, Pequi Vidal, interested in finding out what is going on beyond the walls of the Conservatoire. A vocational musician, Carmelo Hern_ɬ°ndez, willing to use the musical language as a support to transfer cinematographic emotions and sensations.\r\n\r\nTT locked themselves in a top-floor flat of a building, which they gave the meaningful name of _¢‚ǨÀúThe Hyde_Ǭ¥s Lab_¢‚Ǩ‚Ѣ. There, they worked feverishly for 5 months preparing their live performance and composing a completely original repertoire of which they left sonic witness in two rough cuts (7 songs in total, included in this LP), and a jingle for the radio programme, included in the Sampler Non Plus Ultra, also edited by Dom_ɬ©stica.\r\nTT generated a sonic wall which, at real time and without pre-recorded tapes, on strict live, left nobody indifferent. From the spectacular live of TT there is an unpublished video of their last concert, recorded precisely in Rock-Ola. The band broke up after that concert, and the rehearsals of that concert have been exhumed in the documentary by Antonio de Prada, ROCK-OLA, UNA NOCHE EN LA MOVIDA. That wasnt their best concert as, little before the performance, Carmelos Rickenbacker was dammaged and they couldnt find another one on time. However, that concert was one of the most glamorous ones; among the audience, there were Pedro Almod_ɬ_var, Fabio McNamara, Alaska, Nacho Canut, Carlos Berlanga, Paloma Chamorro and, basically, all the _¢‚Ǩ_ìMovida_¢‚Ǩ¬ù celebrating the New Year. We hope it will be possible to have it soon, for everyones delight.\r\n\r\nThe rules of TT were simple: _¢‚ǨÀúhumans compose-programme, non-humans execute it_¢‚Ǩ‚Ѣ. There was not a bass guitarist: a computer executed the bass sounds. TT didn_¢‚Ǩ‚Ѣt have a drummer, either, as only a drum machine could follow those wretched patterns _¢‚ǨÀúfour-on-the-floor_¢‚Ǩ‚Ѣ, between 120 and 150 bpm.\r\nTT probably broke up because they were not capable of overcoming the external pressure, riddled with interferences which harmed the trio_¢‚Ǩ‚Ѣs internal cohesion. Nevertheless, still nowadays, and without having been able to enter a recording studio yet, TT continues to be an unrepeatable, admired and valued group. Both Muzak / MegadeathExtr_ɬ®me (two thirds of TT), and also RT-1(the remaining third) spread the original sound of TT in their brilliant recordings. However, for both proposals, TT has always been their failed subject, their origin and their raison d_¢‚Ǩ‚Ѣ_ɬ™tre. -Lou Cypher- Domestica.