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Cuant

by Bitcho

supported by
Pedro Oliveira
Pedro Oliveira thumbnail
Luis Jerónimo
Luis Jerónimo thumbnail
Javi
Javi thumbnail
tiagomsilva
tiagomsilva thumbnail
/

  • Cassette + Digital Album

    c34
    laser & relief print poster
    stamped and numbered
    edition (75 un.)
    plastic cover
    175x120mm

    Includes unlimited streaming of Cuant via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    ships out within 10 days
    Purchasable with gift card

      €12 EUR or more 

     

  • Compact Disc (CD) + Digital Album

    stamp, relief & laser printed
    numbered edition (30 un.)
    190x190mm

    Includes unlimited streaming of Cuant via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    ships out within 10 days
    edition of 30 
    Purchasable with gift card

      €9 EUR or more 

     

  • Streaming + Download

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1.
Levo 03:44
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2.
Aldeia 04:41
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3.
Ohhhhh 07:18
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4.
Cuant 03:43
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about

What brings BITCHO closer to us.

Still (coming to our memory) Lydia Lunch and her apocalypoetry.
Still Lydia Lunch and her raw and incendiary performative concerts.
Still Lydia Lunch and her knee-cap breaking feminism.
But then it fades away.
Only the memory of what could be called Camp nihilism remains, so 1980s.

But it isn’t used anymore.
One doesn’t spit anymore. One swallows.
Neither reactive, nor passive... just cute. A Cute Nihilism. A Camp that fights for the last canapé, worried about gluten and soya sausages.
No one spits anymore.
Performative arts subsist on minimum wage, expecting an A in behaviour and a good morning from those who decide "what’s on and who’s not".
Spitting is not allowed.

We remember a bunch of our visitors: the impressive Mikky Blanco and, also, Moor Mother, but always subjected to someone‘s attempt to institutionalize them, being taken exclusive possession and having their sugar and salt cut, may they not displease / do harm at one of those power institutional parties.

What comes from BITCHO is the virulent word, the risk of not being tempted to be poetic.
The sounds are contemporary, with (dis)crooked basses, analogue sounds, of course, repetitive, of course, some popular percussion instruments, of course.
They don’t rule what is said, the voice doesn´t allow it... it doesn’t subject to them.
BITCHO rules, BITCHO can spit.

Is BITCHO a Camp devoid of its original sensibility, of a fluffy intellectuality, free
from its stereotypical mannerisms???

Susan Sontag explains what brings us closer to BITCHO: "it´s good because it’s awful"... obviously withdrawn from its context and presented to our advantage...
and BITCHO, beyond camp, more tranimal...
because BITCHO spits.

Paulo Santos Rodrigo

credits

released January 7, 2020

All songs composed and performed by Luís Figueiredo except double-bass in Ohhhhh by Rui Leal.

Mixed at the studio Maria Augusta Produções by Luís Figueiredo and Nils Meisel.

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edicoesamateur Porto, Portugal

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