Davixo Berimbá’s música para performance, released on August 30, 2025 by Colegio extraterrestre Records in Valparaíso, is not a collection of tracks but a series of sonic environments designed to accompany the body in motion. Cuerpo Frontal (2016) opens the album with twenty minutes of shifting layers, where whispering samples and fractured noises dissolve into sudden surges of distortion. The piece feels less like composition and more like a choreography of air, tailored for the gestures of Marla Freire’s performance art. Ni una más II (2019), stretching over thirty minutes in mono, is even starker: extended passages of near silence make the explosive interventions of metallic scraping and guttural resonance all the more unsettling. These dynamics place the listener inside a fragile balance of tension, as if each sound could cut through space like a blade. The work recalls the immersive austerity of Francisco López or Christina Kubisch, yet carries a political and corporeal urgency that is entirely Berimbá’s own. What stands out most are the ruptures: at 3:12 in Cuerpo Frontal, noise floods the ear without warning, while at 22:50 in Ni una más II silence collapses under the weight of distortion. This is music that insists on presence, demanding attention to texture, body, and breath. Berimbá offers not background music but a radical environment—both unsettling and strangely intimate—where performance and sound merge into one field of perception.
Formal Aspects
Cuerpo Frontal (2016) (20:54): episodic structure, layers of processed samples gradually building and dissolving. No stable meter, but recurring pulses emerge.
Ni una más II (2019) (30:16): more narrative; long, quiet beginnings followed by stark, almost violent surges of sound. Mono format emphasizes focus and intensity.
Standout Moments / Key Points
03:12 (Cuerpo Frontal): sudden intrusion of distorted noise cluster after a delicate texture – shocking rupture.
12:40 (Cuerpo Frontal): a rhythmic, breath-like loop emerges, giving temporary pulse.
08:15 (Ni una más II): layers of metallic scraping textures fill the space, raw and visceral.
22:50 (Ni una más II): near silence collapses into a sharp, distorted outburst – dramaturgically striking.
Comparisons / References
Christina Kubisch – use of extended textures and electroacoustic field material.
Francisco López – focus on immersive, reduced, yet overwhelming soundscapes.
Diamanda Galás (unsure, textural association) – in the visceral, almost bodily expression of some sound layers.
Artist: Davixo Berimbá
Title: música para performance
Label: Self Released
Released: 25-08-30