by Ruy Garnier
There’s always a lot going on in “VENDO.” Although it is not always frenetic, there is always an expectation of breaking, of state reconfiguration, and inevitably there is a sound that comes to reorganize rhythmically and melodically what one hears. Yes, Marcos Campello and Bartolo are two formidable instrumentalists, better known as guitarists, and somehow “VENDO’’ is about guitar and guitar extensions. Extensions for similar instruments or simulacra (bandúrria, charango and even a toy guitar) but also extensions like sounds that are usually seen as the back of the guitar, the unwanted sound sparks, the unstressed attacks of when the finger does not press the strings to the arm of the instrument, the tapped beat on the body. It is a record of improvised strings, which starts acoustic and goes towards amplification. The instruments vary from track to track, and consequently the timbres and strategies of instant composition change, but it seems that in the contact of the fingers with the strings a certain spirit is maintained, avoiding or dosing the sustentation of the note, creating archipelagos of microscopic sounds which vary infinitely in rhythm and attack. The interaction of the duo does not work in the sense of a battle (Bailey), the creation of a consonance (AMM) or the studied completion of spaces, but a convergence in speed and dynamics, a willingness to make everything run and start over, and get fired. A playful sense stands out all the time in the audition, because every finger-string contact seems inaugural, full of wisdom from years of practice but at the same time free from all normative ways of playing the instrument. Every sound we hear in “VENDO’’ is prowess, proposal and propulsion.