It hasn’t been long since I told you about harsh noise and its main representatives. One of them, the French guitarist Nina Garcia (1990), (1990), published a new work on LP and digital on February 21st that can be considered a true proof of maturity. Bye Bye Bird is music that it is reductive to define as a middle way between free improvisation and noise, since Garcia is looking for new spaces of creativity between these musical trends; after having fueled the experimentation of no lagos musique (Thomas Dunoyer de Segonzac’s record label) under the pseudonym of Mariachi and provided multiple demonstrations of her musical thought through concerts both solo and with other musicians (1), Garcia landed at Stephen O’Malley’s Ideologic Organ to offer with Bye Bye Bird an indisputably valid example of what the logic of the market refuses, that is, music that has its own physiognomy, that supports the operational mechanisms of art and
