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sicut nubes, quasi naves, velut umbra
::: ( sic ) :::

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About (SIC)

The Latin adverb sic ("thus") is used in written texts to indicate that the word or phrase that precedes it is literal, no matter if it is or may appear as incorrect. Considered as one of the most insane projects of the History of Experimental Music in Mexico, (SIC) works with extreme improvisation and savage-gestural composition - possessed by the rituals from the cave, but with the conscious of silence and meditation -, merging antique practices as the primigenius intuition, channeling and self-induced alienation.

The sound of (SIC) and their genetic vision applied to music, is embodied in concise miniature pieces, led by a wide range of guttural convulsions, buccal tremors and other cries coming from the depths of unexistent languanges, imagined to serve as a framework for contemporary rites remaining to be invented.

(SIC) has previously performed in Berlin, Paris, Geneva and Vilnius; and in museums and festivals in Mexico extensively. Their work has been included in the Norient Exhibition "Seismographic Sounds - Visions of a New World" at Transmediale, ZKM Karlsruhe, among others.












"RONGWRONG" videoclip






About (SIC) members:

JULIAN BONEQUI (Mexico 1974, drums and vocals), is a hybrid artist and xr composer, founder of Audition Records. As musician he has performed under the conduction of the London Improvisers Orchestra, Berlin Improvisers Orchestra, William Parker, Tarek Atoui, Vagina Dentata Organ, and with Ute Wassermann & Mat Pogo. Drummer of the legendary rock in opposition mexican band Decibel in the 90's.

His sonic research is focused in performative extended reality interfaces and vocal trance channeling and includes: Teatro Holofrénico as Member of the National System of Art Creators FONCA Mexico 2017-2020; ˈʊmˌvɛltn̩ - “Interactive Composition” commissioned by the Konzerthaus Berlin 2019-2021; The Death of the Anthropocene, winner of the CTM 2017 Radio Lab Berlin 2017. As soloist, Bonequi compiles cathartic rituals between dark enlightenment and compost-melancholy working with amplified drums and sensors mapping electronics. His music offers obscure connections between opera, improvised holophrenia, noise ambiences and extreme music.


RODRIGO AMBRIZ (Mexico 1983, vocals & electronics) is considered one of the most talented vocal performers in Mexico. He has collaborated deeply in the growing experimental/mexican scene with noisers and improvisers from different stylistic contexts including .RR, Los Heraldos Negros, Juanjose Rivas, Germán Bringas, Fernando Vigueras, Angélica Castelló, Arthur Henry Fork, Ute Wassermann, Jaap Blonk, Burkhard Stangl, and Joachim Montessuis, among many others. He has published in labels such as Ruido Horrible, NoxaRecs, Audition Records and Suplex, all in Mexico.

"My way to approach sound is this phonic-waste voragine; grunts, suffocated exhalations, shriekings, whispers, squawks and screams. I'm focused on deconstructing, alter and multiply the phonic material. The first thing that interests me about the voice is the physical sensation that comes from manipulating the vocal apparatus, the air travel of the internal cavities, the tremors in different parts of the body, the stresses and strains, and the voice that exists previous to language. All these brings me to a primary state. I'm interested in the voice as generator of a constant flow of dizzying associations, immersed in a channel of automatism and glossolalia."





Vocals. Drums. Turntable. Objects
Rodrigo Ambriz//
Vocals. Tapes. Electronics.






___________ REVIEWS ___________

Les expérimentations renversantes de (SIC)... Composé d’un chanteur / claviériste et d’un batteur /multi-instrumentiste /choriste, le duo a mis à genoux les spectateurs du Berghain. Peu de groupes cette année ont su faire autant partager leur virtuosité et leur sens de la performance scénique. Ce n’est pas tant l’intensité constante et rageuse du batteur (Julian Bonequi), ou sa capacité à napper le son d’une basse gutturale et lourde qui a fait mouche ; ce n’est pas non plus la capacité du chanteur (Rodrigo Ambriz) à créer avec sa bouche une extraordinaire variété de sons (chants d’oiseaux et autres noises buccaux, arias enlevés et râles terrifiants) qui a impressionné. C’est bien leur sens aigu de la construction d’un concert qui a emporté le public de bout en bout. Tour à tour groupe de métal hardcore, expérimentateurs sonores (archet + polystyrène + Berghain = bonheur) ou interprètes néoclassique, (SIC) a su proposer un concert qui, à lui seul, poserait un véritable problème à celui qui souhaiterait le caser dans un genre particulier."
TRAX Magazine, CTM 2017


"A form of bodily communication that circumvents the laws and limits of the lingüistic sphere and reveals the materiality of language from within... // SIC performing at VOLTA"
Andrea Ancira, 2016


"Wildly attractive and rotund... of course with all the subtleties of the case..."
Llorenç Barber, 2014


"The wild experimentation, the raw frequencies, the delirious sound, the organic and inorganic dark beat based on improvisation , all of this is represented by the duet described as the most insane, extreme and brutal in the history of experimental music in Mexico. His music has played in museums and underground forums of the country and abroad. They are a bestiality in live."
Nrmal 2016


"Australopithecus / organic grind / ritual / produces heat and massive detonation... I felt in the jungle listening MUSIC OF CAVEMEN AND ANIMALS".
Rats-Monogatari, 2013


FILTER MEXICO: "... with (SIC) the things were taking a towering form with which they ended up collapsing everything that was in their step way with guttural practices that without complications are positioning them as one of the best noise acts of our country"


MeloMagazine: "... the project of (SIC) exorcised the respectable audience with its live act of visceral noise out of the ordinary, and what appears to be pure experimentation actually seems to us as a millimetric calculation of each sound included in its sound exploration that provokes the bowels of the public."


WARP: "followed by (Sic), who impressed the public with a harsh noise that appeals to catharsis"


Wild Brunch: "(SIC) - a project with an exceptional sound design -, drums and voices that are combined with few subtle effects and which make us feel the power of a noise-metal band separated from distortion gadgets. Their sound is worked in layers until they arrive to the dark climax of sound exploration and percussive precision with a lot of brutal voices.


Thump Vice: "In a festival like in Nrmal there is always room for experiments that would hardly find place in a celebration like this. This year (SIC) is definitely that act that is endowed with enough rarity to be the great surprise of the whole festival. It is about a duet that contains all that the wild word could mean and mix it with terribly dark, aggressive and insane beats which are born of an improvisation that evokes the darkest of national music. Sometimes tremendous explosions of uncontrollable noise and sometimes verses recited as poems with a special cadence, the music of (SIC) is that which is heard tenebrous at first listening but that results fascinating as one delves deeper into it. No festival would seem to have room for them once they meet and this opportunity in the Nrmal is the one to communicate with the most strange, bizarre, grotesque, aggressive and obscure word of the national music."


NoFM Radio: "... they won my heart. Even though I hate being afraid, I do not understand anything in the world without fear: fear to be, to see, to see others. (SIC) was terrifying, and in one way or another, his set at some point seemed loving and tender. And almost at the end, I knew why... all his participation was dedicated to the dead of all, and I could not stop sighing and thinking that it was also dedicated to all of us dead, which made me scream with emotion. It was truly beautiful."


La Vida Útil: "(SIC)... are characterized by their strong sonic charges, mainly only with voice and drums; both are already legends of the improvisation circuit of mexican experimental music, an act to the willing of the unintelligible and ineffable experiences. Scrambled drum shots coupled with Bonequi's slow-and-profound voice in contrast with the one of Ambriz that usually transits at full speed declaiming guttural exercises of raw frequencies or what comes to him in mind at the time, sometimes as if their linguistic processes were contrary to everything established ... and next to the possessed songs its presentation becomes in a rite to celebrate the disinhibition of any classification. One of the most intriguing acts of the festival, because you never know what to expect from the duo"


Bizarro FM: "... the distortions, processed noises and so much trash, caused the glance of the eyes to remain fixed towards (Sic). This band of extreme improvisation and experimental music began to interpret sounds that explode; at first you think they have no sense. As the presentation advanced everything corresponds to understand that (SIC) wanted to take you to a cave to get all that fury, that suspicion, that accumulated energy , and even that love. Almost without pauses they surrendered devotees and the audience empathized with them. Emotive moment..."


One Heap Wonder
El Economista
HYPE México
Top 8 | NoFM


Interview SETLIST: "... for real the instrument is the human being. Instruments are just an element, but the human being is the vehicle. Our bet is for that being that expresses, feels and explodes, but not by the technology, the tool or the toys..."


(SIC) at Bestia | 18.12.14
Revista Registro | 02.04.14
Review MUAC | 24.02.14
Interview | 11.02.14
Trance of Hybrids @ Registro | 25.11.14















Live Bootleg: Los Grises Fest III




MUAC | 20.02.14
CASA GESUALDO | 30.08.13



On production:
SCZRS & (sic) / Paris
(sic) + Martin Escalante & Don Malfon
(sic) & .rr / Guadalajara