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Leticia CastanedaRead More...
"a compositional strategy of subtle disorientation”
The protean nature of the amplification system and the unpredictable abandonment of personal inhibitions dominate the spontaneity of her live composition. As a performer, she can be shatteringly emotional in word and action. If perplexed by acoustics or system interference, she compromises sabotage with blatant disregard until a satisfactory control is established. Notable performances have included; Wooden Octopus Festival, Seattle WA, An Audible Instigation Toward the Discovery of Instant Confession Ausland, Berlin, Beyond Music Festival Beyond Baroque, Venice, CA, Center for Experiments in Art, Information, and Technology CEAIT Festival Cal Arts, Valencia, CA, Sound Shift, Big Sur, CA, SASSAS presents sound. Schindler House, Los Angeles, CA, Line Space Line Festival of Improvised and Experimental Music, Los Angeles, CA and SFEMF San Francisco Electronic Music Festival, CA. Leticia’s means of participation in these events include; solo electro-acoustic improvisation, composition exhibition, audio environments to accompany sculpture, collaborative improvisation, audio drama, and site-specific installation. Collaborations in public or private settings include; Antoine Chessex, Lionel Marchetti, Jerome Noetinger, Jessica Catron, Mitchell Brown, Dave Phillips, Aaron Ximm, Rick Potts, Joseph Hammer, Raionbashi, Smegma, Omid, Reynols, Albert Ortega, Fanon Flowers and Josie Roth. Association has been noted with the Los Angeles Free Music Society and Fluxus.
Leticia’s debut full-length CD, On the Verge of Redundance, was released by Chicago-based CIP in 2004. Criticism has documented comparison with electronic composers such as Eliane Radigue, Mary-Anne Amacher, Francisco Lopez, Subotnick, Maxfield and Oliveros, has been cited as possessing “a richness and warmth that recalls an earlier generation of analogue pioneers”, compositions which “revel in a thrift store brutism that engages the aesthetic of musique concrete with a lo-fi sensibility”. Her live performance, recognized by The Wire’s Christopher DeLaurenti writes: “Castaneda’s carefully calibrated volume and gorgeous timbres evaporated the barrier between loudspeaker and raw sound in a singular fashion”.
On the Verge of Redundance
full length CD. Crippled Intellect Productions, 2004
Influenced by Intensity-compilation CD,Lp Quintessential, 2003
'Careful Steppin Daisy'
String of Artifacts-compilation2xCD Fish Pics/Resipiscent, 2005
w/Peter Lograsso. L.A. Noisescape-compilation CD Bastardised, 2006
'Say Goodbye to the New'
Field Recording AllStars-compilation CD Dielectric Records, 2007
Remixed, Mix, Recording & Collaborations:
Damion Romero livingroom 3” -CD recording.
Banned Productions, 2001
Plasmodian World Of Cantaloupe & Bolles, The / Experimental Audio Research - Walking / Floating Ltd, Pic. disc 10” -Mix credit.
Exit Studios, 2004
Damion Romero No Information Available -CD recording.
MSBR, Japan, 2004
Mitchell Brown Colocasia -CD Remix.
Samples used from Leticia Castaneda’s On the Verge of Redundance,
Audiobot Unlimited, Belgium, 2005
Astromero - Live at MilUsos -CD Recording.
3xCD Ltd. Troniks-289, 2008
Mitchell Brown, Rick Potts, Leticia Castaneda 'Crustacean Bike Ride' -Collaboration.
Celadonia, CD. Melon Expander, 2008
Busdriver 'Unsafe Sextet/Gilded Hearts of Booklovers' -Samples Remixed.
Produced by Omid. Original samples by Leticia Castaneda.
Jhelli Beam. CD, Lp. Anti-Epitaph, 2009
Fall Sequence w/Fanon Flowers
UTCH Earthquake Techno Series 004 CD
UTCH Records, Chile 2010
Left for Dead w/Fanon Flowers
Dark Emissions 12” Vinyl
Reaktor Records, Spain 2011
Top SongsTotal plays on Last.fm over the last 6 months
- Cut Doep - 233 plays
- section 409 of the penal code - 90 plays
- The Careful Steppin' Daisy - 71 plays
- Crayon Salad And A Glass Of Wine - 52 plays
- Statue - 42 plays
- memories of being lost - 46 plays
- Slur - 85 plays
- a dot concoction - 43 plays
- 1. Slur - 36 plays
- untitled 1 - 23 plays