Not music. Nor theatre. Nor dance.
But a bit of each.
Club d'Essai is a performance group. As such, it develops its performances and shows within its primitive-ritualistic aesthetics, mixing elements of percussion, concrete and electronic music, theatre and dance. With its work, Club d'Essai furthers its artistic research towards a cultural vanguard, putting together different artistic means of expression, whithout however restricting itself to their limits and frontiers.
The group was formed in the 2nd semester of 1996 as an alternative line-up to the L'oeuvre en Ruine band, when it collaborated with the "Teatro da Dança Concreta" project with the soundtrack to the play "Ballet Industrial", which was performed only once.
The group only manifested itself again with the end of L'oeuvre en Ruine in April, 1998, acting then independently and already under the name Club d'Essai, a refe(ve)rence to the composers Pierre Schaeffer and Pierre Henry's 1948 concrete music project. From then the group built its ascension using the alternative nightclub scene in Porto Alegre, RS (Brazil), collaborating with electronic music festivals, cultural shows and street interventions, in parallel with the preparation of what the group considers the great step of its history, the Atonal Installation show, Club d'Essai's definitive format.
A group of experiments. Sound and visual experimentation. Rhythm and performance in the exact moment their limits are undone.
Ritualistic melodies generated over junk of any kind overlap together with bases composed by electronic frequencies, industrial noises, ritual chants and orchestral cells. Sounds of unusual origins serve as raw material for an alchemy of concrete music, naturally and artificially produced, that shows itself in a range of ways, from sound abstractions to industrial percussion's impressive cadence.
According to the group's goal of breaking the barriers between music and the fine arts, Club d'Essai takes its rhythmic dramaturgy to the audience through what it calls "ritualistic performance", making use of different means of artistic expression: fine arts, dance, electronic media, constant interaction with the audience, dramatized texts, unlimited use of the action room and unusual musical elements played with energy are some examples of elements that make Club d'Essai's work a Babel of disconnected, wild sensations.
Motrix was conceived by the artist Melissa Liedke from her perception of the group members' "playing", in a reference to the act of playing percussion and dramatizing an action at the same time.
To compose Motrix the artist used as reference the recycling symbol, associating it with the fact of the group using junk as musical source, and an ancient american tribe's cross representing the primitive aesthethics of rituals incorporated in the group's performances.