Help us support the longevity of our historic audio archive--housing over 10,000 hours of rare, experimental, and cutting-edge, radio programming.


Follow us on:


Donate to Clocktower today.


Chelpa Ferro

Joe Ahearn sits down with two members of the Brazilian multimedia collective, Chelpa Ferro, and Instituto de Cultura Contemporânea (ICCo) artistic director, Daniel Rangel.

Since its formation in 1995, Chelpa Ferro has produced sound pieces for installation and recording using a mix of electronic music, sculpture and a myriad of other mediums and materials. The group's work has been presented at art galleries, museums and biennials throughout Europe and Brazil.

In August 2013, Chelpa Ferro came to New York for the first time ever to present their sonic and visual improvisation performance piece, Maué Metal, produced with the help of ICCo. Through the unconventional use of instruments as well as everyday objects, Maué Metal explored the liminal line between music and noise in Union Square Park.

In this interview, group members Jorge V.B. Lead Teixeira and Luis Pierri Zerbini talk about their work and newest release, Chelpa Ferro 3. We hear tracks from the recordings of musicians Arto Lindsay, Pedro Sa, Jaques Morelenbaum, Berna Ceppas, Kassin, Chico Neves, and Stephane San Juan, who entered Chelpa Ferro's installations and played along with the sounds generated inside.



Experimental Composers


The object of this series is to invite emerging and established innovators to share their work. These programs are usually a combination of an interview with a far-reaching perspective on the artist's career, some recordings illustrating this history, and something new. Open territory. The unfortunate and unintended messages that come attached to a title like Experimental Composers are many. Still it is one of the few labels to come out of the world of music that has not been co-opted by promoters, corporations, journalists, or lawyers. This one just seems to have anti-market goo on it. Hooray. It's also just bad English (as if to imply that these poor souls are themselves, in their flesh and blood, some kind of experiment and, perhaps, even expendable). And then there is the spectre of defying the wisdom of the great Edgar Varèse who said something like, "I do not write experimental music. My experimenting is done before I make the music. Afterwards it is the listener who must experiment."