A composição de timbragens no rock independente brasileiro

afecções do tecnocolonialismo e da precariedade no setup dos músicos

Abstract

In contemporary Brazilian’s indie rock, musical fruition depends significantly form the complex timbres that are developed through a series of effect pedals that modulate the signal of musical instruments. But for amateur or semi-professional musicians, to own several pedals is a high-cost choice, especially in times of devalued Brazilian. Therefore, rigs are assembled not only by the musician’s aesthetic choices, but also by social, technological and political assemblages. We seek to observe how such assemblages affect the artistic processes of timbre production in the work of the following bands: Rakta; Boogarins; Winter; My Magical Glowing Lens; Cine Baltimore; Sterea; Adorável Clichê; Supervão; Zeca Viana; Harmônicos do Universo; E A Terra Nunca Me Pareceu Tão Distante; and Miêta. Members of these bands and their rigs suffer interference by precarious conditions, the necessity of quick fixes, and the technocolonialism that is imposed to musical production in Brazil context and it all affects the timbre’s final result. To comprehend such affections, we describe and map the social technical machine (created by the assemblage of musicians, musical instruments, amplifiers and pedals) that have agency on the timbres, with the purpose of recognize transformations in the involved bodies (listeners, musicians, instruments, music) after timbres are actualized. As part of a greater research, the present paper contributes to the comprehension of timbre as an agent of affective communication.