M. Alberto / MUSICAL COMPOSITION / POETRY / SAXOPHONE / THEATRE / MULTI-INSTRUMENTALIST / ARTIST-RESEARCHER / ACTIVIST / SOUND DESIGN / EDUCATOR | AMSTERDAM / CURAÇAO
so we love
we are loved
we are lovers
inside of each bone
and in every little bit of us
we are one another in collision
this is the human condition
we are moving parts
we are a collection of systems
in need of synchronicity
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calendar
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releases
THE BALLAD OF A NEVER-ENDING ELEVATOR ACCIDENT
Poetry Collection, Autumn 2024
vehicle/passenger II (excerpt)
vehicle/passenger
neither guide nor navigator
a carrier of time
a kinetic sculpture disintegrating in the same wind that moves you
the same rain that tickles you into song
is needling markings
is tallying
VEHICLE/PASSENGER: Marc Alberto, Lesley Mok & Florian Herzog
In VEHICLE/PASSENGER we gather around thoughtful, radical poetry, as it weaves through energetically improvised pieces and delicate soundscapes. Exploring a queer perspective on body, society and improvisation.
Their LP "Live in Amsterdam" is a live-in-front-of-audience capture of a young group whose sound is as urgent, spiritual and honest as their message.
the bridge
felt like a high wire
crossing
eyes centred on a life line
lost steps
lost in off set
death merengue
off kilter
exhausted
when
sleep is lava
tonight
will have no ending
how could you forget that
time is ruthless in its patience
where the flesh tends to eat itself
clockwork keeps its pace
nothing of weight
seems to ever truly change within a life time
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misc.
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VEHICLE/PASSENGER - LIVE IN AMSTERDAM
Live Album, Autumn 2024
carrying tomorrow as a heavy coat on a heavy body stiff shoulders and in a heavy heart with october storms now freezing over the city re-emerges in its typical indifferent grayscale but it has aged the concrete has become more quiet more silently observant to our pain she is a witness she is a now stranger watching us from under crystalline veil her testament more threatening as day & news cycle and walls fortify between every/thing and every/one we are many types of hungry and still tired from the downpour but we all are we all are hustlers we all are whores we all are cops in the bedroom who are johns at the dinner table we all are transit and transaction through the streets contracting as night spills into lonely afternoons we scurry home where nothing's waiting hands in the stillness of our pockets head down tongue tied we can hear the rockets listening closely they have been whistling your anthems strangers are humming carols prematurely absentminded cold noses lit by opioid stroboscope animated gazette have you heard!? the world is ending sings a messenger we don't know how to kill electronic snow-globe show of money falling from the sky the currency is time we force our faces into-through the slabs and push as if we are to find our own missing tears in the eyes of displaced infants on the other side the currency is time we are missing each other we fuck it into-out the other side that will never ever answer november is waving a wind that cuts empty with the smell of cynicism a wind shaking hands with upside down flags lined up outside city limits like the corpses of trespassers propaganda fucking itself through the doors and windows of the missing city propaganda is riding the bus up north pushing through the university pushing through the concert halls pushing through the missing jazz fucking itself through our headphones fucking itself into the homes that we are missing until it fucking settles we are always outside of everything watching the caroussel & our attention is the operator spinning it [...]
excerpt of "winter song" (M. 2023,)
Summer is a slow season
Happiness is a slow growth
Melanoma
Happiness is a snowdrop under the tar
glowing in heat
Waiting to open
Promises are just that
ask me to hold on just a little longer
okay
Once the head rolls off the beast
All the homies eating
A 'generation of artists' that had a sincere connection to the core tenets of marxism or at least liberatory concepts, in the long run was not brave nor selfless enough to turn radical aesthetics into lasting "praxis". The political movements of the 60s and 70s birthed a Dutch "school" of a-political politicised art, edgy and sarcastic. Provocative. Self-aware and self-critical. But in the end mostly masturbatory & /unwilling/unable to confront that western European art/art-music as an inherently white supremacist cultural practice. That actively grew a culture of thought and models of exceptionalism which since driven the working class even further from the institutions, leveling a path for the capitalists to swoop in and undress us and our infrastructure. Nearly all cultural infrastructure is only accessible for an elite in denial or at the mercy of capitalists
bell hooks: "part of the heart of anarchy is, dare to go against the grain of the conventional ways of thinking about our realities.
Anarchists have always gone against the grain, and that’s been a place of hope."¹
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contact
"this is not wordplay, it's worddance" - bongowattz
"a compelling juxtaposition of sound and message,
delivering hard-hitting reflections on the state of the world"