FELOFÓN Fela Borbone is an autodidact, electronic circuit exorcist and inventor of the Mierdofón, a device built from the Amstrad CPC personal computer, which, through a program written in BASIC, activates percussion instruments (cans, drums, trays) by means of small sticks driven by electromagnets. He also uses guitars modified with homemade tablets. His activity further includes the creation of manuals, such as Rocanrol por el puto morro, where he explains the construction and operation of his instruments, which at times are nothing more than prototypes.
Fela began his musical career as part of Los Borbones and Royal Canín. After he joined the Ulan Bator Trio, the group began to release records. Its work was characterised from the beginning by a provocative staging, with irreverent lyrics and self-made instruments, and in 1998 they released an LP, Vinilisimo (Alehop!). But it is in Fela’s personal project Felón y su Mierdofón, which he describes as ‘pachanga roboroquera’, that he best shows his abilities as a luthier. Fela has participated in festivals and encounters in musical and artistic contexts, where he gives talks about the production of sound artefacts.
Fela Borbone - ¿Fiesta? ¡SI! ¿Fiesta? ¡ASI!
GOODIEPAL & PALS The Dane Goodiepal has invested all his time and energy in avoiding stereotypes and expectations. His crusade for radical pedagogy and sci-fi speculation with graphical notation so as not to bore future artificial intelligence is now going through a more political phase with interventions in refugee camps, incendiary readings on the notion of Europe and band format.
In the year in which he turned forty, the ‘trickster’s trickster’ announced on the networks that he was ‘too old to perform on his own’, so he created a new group formed by Oliver Laumann, Dønny Fortrængning, Nynne Roberta Pedersen Pedersen 1 & Nynne Roberta Pedersen 2, Sara Nigard Rosendal and Fie Auf Bathtub, in which he saw himself almost as a ‘caretaker’. Mostly active in Germany, Scandinavia and the Balkans, the group now promises to cross the old continent by train with their equipment on their backs.
As someone who published a pirate album for Editions Mego last year, EMEGO 211, available in the public domain from the platform Wikimedia Commons, and with as many faces as the alphabet has letters, what can finally happen on stage is difficult to predict... except for his way with words, the challenging of conventions, the virtuosity and the technophilia that are the essence of his work.
Rather than repeating the string of labels and descriptions he collects, and which he imparts in his outrageous actions on YouTube and other viral strategies, the best way to approach his practice is that proposed by Felix Kubin: ‘It struck me as if by lightning: Goodiepal is not an artist. He is an art critic. Or to be more precise: an artistic art critic, since he uses his art criticism as an artistic practice. But, of course, he would criticise this definition. Ahoy!’