Saxcretino EP 

Saxcretino is a 1.2m-long hose with a saxophone mouthpiece at one end and the upper portion of a PET bottle in the other. Saxcretino is also my nickname, my way of playing the saxophone and the title of the EP.

The tracks are inspired by the human being of the present time – the way I feel, see and hear the world. More specifically, they are fragments of what I feel as a living being on tracks 2, 3 and 5 (1Ziriguid1, Comin 'Back in 5 and Samba de Vento) and what I see and hear on tracks 1 and 4 (Da Loja pro Lixo and sofa e TV).

Without commitment to technical perfection, aesthetic purity or specific sound, the 5 tracks express the combination of unconventional instruments and traditional instruments of Western music in a popular language with unusual rhythmic cells. The microtonal instruments used in the recording were made by me with material found in the trash and are inspired by the non-noble instruments de-composer Anton Walter Smetak.

With unorthodox production, the project had the saxophones (tenor, alto and soprano), voices, berimbau with gourd paper mache, microtonal wind instruments and percussion (cylindrol, saxcretinos, Caboclo flutes, boréu, spring drum), my heart and my breath recorded at home, and I simultaneously assumed the functions of recording technician and musician, which was only possible with the support of recent technological advances in the music production field. Also, I prepared the loops of traditional Brazilian percussion, electronic drum beats and base instruments with samples and MIDI. I had the local participation of Fernando Machado playing guitar in "Samba de Vento" and intercontinental participation of Nancy Viegas on vocals in "1Ziriguid1. I used a Yamaha 25 alto sax and a Dukoff M6 mouthpiece changed with dental cement, a tenor sax Yamaha 275 with Otto Link Supertone Master n.8 mouthpiece and a soprano sax Pierret with a Bari n.6 mouthpiece. The sound of the heart was captured by a hybrid between stethoscope and condenser microphone designed for me to use in live performances with the internal sounds of the human body.

 Saxcretino was designed and conducted between April and May 2016, excerpts except "Coming back in 5" and "1Ziriguid1", which were started in May 2015. The songs were composed, arranged and produced by me. The mixing and mastering were done at the Hidden-Cam studios (Brighton & Hove - United Kingdom) with the help of Cameron Devlin (technical) during the first week of June and finalized on August 2, 2016.


Track 1 – Da Loja pro Lixo (from shop to trash)

Andre Borges - vocal, alto saxophones, Caboclo flutes, saxcretino, boréu, cylindrol, loops

Track 2 - 1Ziriguid1

Andre Borges - vocal, alto and soprano saxophones, Caboclo flutes, saxcretino, boréu
Nancy Vieages - vocals

Track 3 - Comin 'Back in 5

Andre Borges - alto saxophones, flautas caboclo, cylindrol, loops and MIDIs

Track 4 - Sofa and TV

Andre Borges - vocals, tenor and alto saxophones, berimbau, saxcretino, boréu, loops and MIDIs

Track 5 – Samba de Vento (wind's samba)

Andre Borges - tenor and soprano saxophones, flutes Caboclo, saxcretino, boréu, cylindrol, loops and MIDIs

Fernando Machado – acoustic guitar
Listen to the full album below:

INSIDE- OUT: A Sound Art Performance

Firstly, INSIDE-OUT involves the exteriorization of internal sounds of the human body. Except by nurses and doctors, such sounds are rarely heard, analysed or explored. We generally forget we sound. However, such vibrations may reflect the very meaning of life. The internal rhythm of our body not just influences but is also influenced by our mind. The balance of these forces is directly influent in our daily heath.
Bringing body sounds to our ears may improve our familiarity with ourselves. The inside-out music involves the manipulation of internal body sounds. These sounds are, at the same time, musical material and stimuli for other musical objects.

Bodily Elements

Using breathing techniques, the heartbeat can be speeded up and slowed down. The air that feeds the blood also sounds on its transit from nose to lungs and back. There is a particular harmony between these interdependent sounds. Breathing is easily manipulated but cannot be paused for too long. Heart has a continuous involuntary beat but heartbeat still can be manipulated by breathing. However, it pauses mostly when life ceases.

The throat area, when operated in a very low stimulus can produce rich harmonics that cannot be done loudly – the internal singing. Extremely high-pitched sounds and chords are possible in such singing.

The guts sounds are very difficult to predict or control. Yet, the borborygmi still can be stimulated. For instance, when we are hungry, the activities in the intestines increases and causes sounds by squeezing fluids and gas down to the rectum.

The audio signal of body sounds is used as reference for microcontrollers to drive motors and light bulbs. The motors’ traction is used to play instruments such as gong, berimbau, harp, and percussion effects that, combined with the live body sounds, generate a mantric soundscape which resemble that of shamanistic rituals.


Trying and find a way to amplify body sounds, I have developed a hybrid between a stethoscope and a microphone. INSIDE-OUT has two ‘stethoscopic microphones’ - one attached to my hearth, and the second, to the guts.  Breathing sounds and throat singing are captured with a condenser microphone attached to an oxygen mask. The mask works as an acoustic room.

These three signals are transported to a sound desk and from there, to a PA system. Simultaneously, using Arduino technology, the signal sent buy the heart controls two light bulbs; while the signal sent by the breathing sounds starts different DC motors that induce sounds from musical instruments. The sound result creates a constant tension throughout the performance. On one side, my conscious mind trying and control the body sounds with breathing techniques. On the other side, the soundscape brought up by the very sounds, together with the side-effects of hyperventilation, reducing my consciousness.

INSIDE-OUT is influenced by the works of Murray Shafer, John Cage, Tom Rice and Evelyn Glennie. It is also inspired in Alvin Lucier’s Music for Solo Performer (1965). The ideas resulted from a year of research in the relations between sound and health and two years of part-time work at the Royal Alexandra Children’s Hospital as health-care cleaner, which also has provided me the means to afford the course in Performance and Visual Arts at the University of Brighton. 


Fragments from INSIDE-OUT's Documentation:

Related links:



Shifty VU

Communication - Tell Me:

  • A microtonal acoustic wind instrument to be played by five performers simultaneously;
  • A sound sculpture and musical performance about social decisions.
    - Five people blowing in five different tubes blending their five distinct timbres into a single sonic

    Visual physicality - 2m long PVC tube on a vertical position. On top, a bowl made of paper mache (75cm diameter) is hanged. Connected to the backside of the bowl –
    which is used as acoustic box – five tubes of different length,
    diameter and matter will produce various sound qualities. Each tube

    is to be played by a different person. The audience perceives the sounds from the one acoustic mouth.
    Aural physicality- Frequencies of most audible parameters coming at the same time from the same place but produced by different sources.
    The intention is to symbolize the disharmony in the communication between the different parts of the world. Different voices are forced to find an agreement. Different sounds forced to share the same chamber. At the same time, the object also exposes questions around auto-sustainable energy use and the recycling of our waste as examples of issues that involve the five continents but that cannot find any honest agreement.
    Five connections linked to one acoustic box. Five continents connected by the same world. Five different opinions – they all speak without listening. Their sound echoes in the same atmosphere. What we hear is a weird song. A microtonal sound mass that contains reflections on our collective despair, ignorance, selfishness, immediacy and immaturity is propagated. Although each part has its own individual characteristics, inevitably they all become part of the same voice. Will this voice eventually be understood? These frequencies might interfere somehow in our lives, in our private and public daily decisions.

This work also goes against bad use of technology and the misbehavior of a society that is sunk in consumerism. The materials were chosen from disposable objects of daily use.
Influence of social pictures:
Picture 1 ‐ Our society struggling to make unprofitable decisions in our present moment for an uncertain future. The world is susceptible to changes that are not under control of our civilization. The civilization itself has never been under self‐control. The heads of political power are gathering in hope for comfortable solutions but not showing convictions. Meanwhile, lives are carried on day by day in our contemporary world were the real is not certain and ignorance is still a safe home.
Picture 2: Traces of information ‐ clear or manipulated – that are no longer fresh, are blown by the wind on old newspapers.
Picture 3: Christmas holiday memories and presents are kept for sometime before they are forgotten or replaced. However, Christmas waste lasts
longer. Glass and plastic bottles, wrap paper, plastic and
an enormous amount of food are all unconsciously

spoiled as if we could afford to keep our contemporary style of rich western life forever wasting so much.
Picture 4: Instead of having technology as a great
ally against our
bad habits, we let consumerism transform
it into uncountable useless electronic gadgets and every
new color or shape is a reason for replacements year after
year. Moreover, it is never worth to fix a broken machine.
We simply buy a new one and get
rid of the old one ‐
meaning just having it out of sight. Most of these things could probably last for an entire human lifetime.

Private Connections /Springboard:
Wind – breathing – voice – sound – communication – newspapers – recycling – technology – consumerism - waste.


BYOS 2008

Inspired by the imagery seen through microscopes in microbiology, This work consists in a series of  slides accompanied by a soundtrack. I made the slides using ink, cotton, oil essences, plaster, alcohol gel, blood(mine), acrylic paint  and parts of insects. The soundtrack Is based on the soundscape of a Cardiac ward at the Royal Sussex County Hospital, in Brighton. It was recorded at home, using
beeps from laptop, desktop, microwave and timer, heartbeat samples, scissors, air pump, cooler, air-conditioner, PVC pipe 40mm, conduit, rubber balloon, alto saxophone mouthpiece+tube+bottle(saxcretino) and voice.
You can check all the slides and a link with a sample of the audio below:





Hearing Touch- Interactive Live Sound Installation

Hearing Touch is a specific aesthetic situation for ears and touch. A semi-dark corridor in which the audience walks through, stepping and touching different materials and consequently producing and experiencing different sound textures.

The intention is to bring awareness of senses through stimulation. Specifically, Hearing Touch
Is related to the constant presence and influence of common sounds that have touch as their cause.

In contrast to the amplitude an influence of vision, a direct physical experience is becoming rare. Also the overproduction of sound - including noise - has taken people to a state of hearing numbness. In reaction to such situation, I have decided to build a space where eyes are tricked by close objects and lack of light while touch and hearing are stimulated by everyday objects. The Audience experiences the corridor as music performers, making their own music while passing through, or as listeners while waiting outside the space.

Newspaper, bubble wraps and supermarket plastic bags are the media used by the audience to build up their own sonic and tactile experiences. From outside, audience can hear each the sounds projected from inside and have their own thoughts, memories and projections of what is to come while someone else is playing the corridor.

Rules and suggestions:

  • Concentrate in the sounds;
  • Walk slowly (it is a tiny corridor);
  • Use the left side wall as guiding reference;
  • Take your shoes off;
  • Only one person is allowed inside de corridor each time;
  • Be quiet while waiting for your turn. The sounds inside are very delicate;
  • It is visually confusing. Do not get distracted.

Where R U?

I got the idea of a live performance combined with mediated performance.  The question about where I am is shown in my video through a pseudo-live chat between my image captured by a webcam and projected on the screen of my laptop, my image directly captured by the camcorder, and my “real” self present in the room wherever the video is projected. Although this was a video I could make at any free time at home, it was a great challenge to be able to control angle and zoom of a camera, say the line of both me and my webcam images. I had to hang a little mirror by the side of the webcam so I could move the camera between the two of “us”. I had to make it in chose close-ups so I controlled the zoom to get extreme, medium and normal. I had to record around 15 times to get a few sequences without mistakes and I decided to keep some imperfections, if compared with the original idea, and let them be part of the scene. Even the little animation in the beginning, made first with writings on a paper and latter with pre-cut letters of a black paper, instead of transferring the video to my mini DV tape, I recorded it from the little monitor as a hidden link to the concept of copy.

Where r u ? on Youtube:


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