https://youtube.com/playlist?list=OLAK5uy_lb6poAFb-xNG0Bw5z0g7GACzI04Co0kRo

From Lawrence English
I’m not really sure when I first heard Beatriz Ferreyra’s music. My best guess would be in the early to mid 2000s when I was working alongside the curatorial team at Liquid Architecture. Given the focus of the festival at that time, GRM and musique concrète more generally was very much a point of focus.

That said, it wasn’t until this decade that her work was sharply in focus for me (and I am guessing a great many others). In 2017, I had the great pleasure to meet Beatriz in Braga, where we both were performing as part of the excellent Semibreve Festival. Subsequent to that I invited her to perform in Australia and we also had the pleasure to send time together in Rio during the Novas Frequencies Festival. Across these meetings, I have come to realise the incredible focus, generosity and vision that Beatriz has maintained across her life in sound.

Beatriz Ferreyra is one of only a handful of female concrète composers who were active across the second half of the 20th century through to today. Her work, which is still very much an active investigation, is simultaneously complex and elegantly simple. Often drawing upon singular object of focus, Ferreyra’s use of tape and other forms of manipulation radically reconfigure her chosen sound materials, opening them outward.

UFO Forest + collects together works from both her practices in tape based music and also computer based works. The pieces featured here epitomise her prowess in create dynamically rich sound works that are effortless in their sense of otherworldliness. Beatriz Ferreyra has created a sonic terrain all her own, and here is lies the proof.