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Ferran Fages, Outtake 1, Cançons per a un lent retard, 2007

A guitarist by training, Fages left the instrument in 1998 to begin a process of reflection and reconception of the guitar and the music he was making with it.

After 5 years of idling and research, in 2003 he began to present his findings in public, through small musical structures that gave birth to the album "a cavall entre dos cavalls -- composicions per a guitarra" (creative sources, 2004). As Fages himself notes, it was "an introspective and calligraphic way of playing, where the compositions are conceived as open and changing structures which permit circulating through a suggested harmony without depending on it. The sound within a space of execution determines the tempo and the character of each performance. The chord sequence is more focused in its spacial resonance than in its cadence. One of the primary reasons for working this way is to pass over the harmonic conception of the guitar and work toward seeing it intervallically.”

Three years later he published his second record on guitar, "cançons per a un lent retard" (etude records, 2007). Continuing with the ideas expressed in the first disc, the next step was to work more closely with resonance and duration. The guitar is tuned chromatically, allowing for a more precise elaboration of forms based on resonance, overtones and clusters. Without losing perspective on tempo, harmony is treated as a sound-mass where the parameters for modulation are focused on relationships of contrast, intensity, space and time.

Dimitra Lazaridou-Chatzigoga participated in the making "cançons", recording one piece with Fages. Growing out of this collaboration, they began working together with guitar, harp and oscillators under the name Ap'strophe.

About his second release “cançons per a un lent retard”:

"Cançons per a un lent retard, Ferran´s second guitar album stands a-parallel to the first (a cavall entre dos cavalls). 9 songs or cançons that reveal (give us access to) the becoming of a song, opposed to today's platitude of objective and/or subjective song-writing... Ferran´s objective. They are song(ing)s just because they intent to produce meaning... a music reality is aimed at and diagrammatically consists of a multitude of horizontal and vertical lines. Lines opposed to plotting points. Possibilities of possibilities. Guitar compositions curving time with suspense, delay, slower or faster remnants. We are confronted with intensity "colored" with dense and resistant materiality and aggressiveness...and it is not pure materiality. The musical event is immanentized by a death operation. The Imminent death of a close person, totally unpredictable, was constantly interrupting or (not) the process of synthesis, retroactively forming the songs by assuming and distorting their materiality. The emotional and predetermined character of this operation dissolves through the insistent and continuous listening of the cançons, thus it seems that the songs' time can truly exist outside Ferran's emotional temporality (that´s why they ARE songs). The conjunction and interconnections of these autonomous musical events, that coexist in many levels, produces refrains, small melodies, and many other different figures...In short, Ferran designates a "new" musical timeplace where improvisation and composition are open from being open-form or aleatoric, a destinerrance where something eventually must happen, something beyond calculation and labor, not negating death, but something coming from the other, who is any-particular song listener."
– Michalis Kyratsous (July 2007)

At the end of 2008 the canadian label Etude Records releases his third solo album called "al voltant d'un paral.lel"
This disc reflects the totality of a live concert, whose materials of departure are fragments of his first disc (“a cavall entre dos cavalls”). Maybe its content is an unconscious bridge between the materials of “a cavall entre dos cavalls” and the performance /spatial sense of “cançons per a un lent retard”.
This concert took place a month and a half after the recording of “cançons per a un lent retard”.
The austerity, with which the guitar is addressed, continues in the same direction: there is no gratuitousness in the playing gesture and there is no generosity in the music that emerges. Passive listeners are utterly expelled.

In the disc there are two hidden versions in track 3 “747” main riff by Blind Idiot God and in track 5 “mother my lover” by The Beyond.

More info about the reviews on the label's website.

/// watch A cavall entre dos cavalls, solo guitar video by Adolf Alcañiz

at hotel 2 tango, Montreal  

Heliogàbal, Barcelona, 2009

Antic Teatre,  Barcelona 2007