giovedì 29 luglio 2010
This solo work by the 3/4hadbeeneliminated guitarist Stefano Pilia can aptly be defined “ecstatic”, in the purest sense of the term. Each guitar note seems to emanate from beneath an invisible surface, lingering for a few moments only to drop back down and be replaced by another; different harmonics emerge creating a restless resonance, and tiny clusters of melody appear and disappear before fading in the haze of a gorgeous drone.
Stefano Pilia was born in Genoa in 1978. He lives and works in Bologna. An electro-acoustic composer and multi-instrumentalist who has realeased various recordings with both Italian and foreign labels , has toured Europe and the USA, collaborating with artists as well as musicians. His work has become progressevly concerned with the research of the sculputural dimensions of sound and it's relations with space both through instrumental executional practices and investigations into the recording and production process. He is one of the founder members of 3/4HadBeenEliminated, a synthethis between improvisation, electro-acoustic composition and avant-rock sensibilties. He generally plays live as solo and with 3/4HadBeenEliminated and frequently collaborates on the sound-tracking (both live and on CD/video) for the productions of Zimmerfrei, Cosmesi, Homemovies and Wuming2.
martedì 27 luglio 2010
In only two years of work Fabio Orsi has achieved critique and fans, imposing his name as one of the most promising and representative of the entire Italian independent scene. A drift began with the excellent vinyl LP "Osci" (SmallVoices 2005), followed by the famous split CD "For Alan Lomax" (A Silent Place, 2006) together with Italian My Cat is an Alien and a couple of cooperations with Gianluca Becuzzi: "Muddy Speaking Ghosts Through My Machines" (A Silent Place 2006) e "The Stones Know Everything" (Digitalis Industries 2007). Today, as final confirmation of his talent, A Silent Place is proud to present this new Fabio Orsi solo. "Find Electronica" is a wonderful album finely full of lyric, structured as a long drone/ambient suite divided in two portions which are the frames of the articulated central track. A strictly personal exercise on the "Weird Folk" theme, hypnotic and seductive. The "found" electronica meets the humoral sonorities made by the six chords, projecting enchanted landscapes on a vibrant horizon, with an intimate sensibility. Abstract and emotional, deep and dreamy, "Find Electronica" is a great album: an essential step in the ascending Fabio's career. Another great/small gem from that "silent place" in the deep Italian South.
domenica 25 luglio 2010
Estranging sounds complex in five unusual recordings, edited and assembled in an alienor period of two years.
Fantastic collaborative work; file under: experimental, concrete music, deep dark noise ambient.
venerdì 23 luglio 2010
P16.D4 existed from 1980 to 1988 as a continuously working group. The only permanent member was Ralf Wehowsky (RLW). Since 1992, RLW works under own name. All the tracks of Tionchor had appeared on different compilations. They were restored and compiled during 1986 for Tionchor which was released II/1987 as L.P. (Selektion SLP 013). Three bonus tracks and the complete discography have been added for this CD reissue.
giovedì 22 luglio 2010
sabato 17 luglio 2010
A student of Scratch Orchestra member Philip Dadson, Roberts approaches composed sound-sculpture via the Orchestra's meta-musical intercourse of exploratory improvisation. Roberts takes a performance-based approach to the presentation of sound, relying on unconventional "prepared" and "table-top" guitar treatments and a free-flowing phraseology of texture and timbre. The three long pieces that comprise 1998's ALL CRACKED MEDIAS, Roberts' first recording for Mille Plateaux, employ guitars, piano, and various percussive devices in an effective, one-man emulation of the directive that drives revered British improv ensemble AMM.
Roberts embraces AMM's sedimentary process, producing laminate strata of tones, bowed-metal sonorities, percussive treatments, and discontinuous string scraping, noise, and piano-pounding interjections. That said, MEDIAS possesses a post-digital character quite removed from AMM's ultra-organic trademark. Roberts' apparent use of the computer in arranging, assembling, and relating sounds-particularly on the 26-minute "Kompakt Arcade"-emerges as an intriguing progression and introduces an exciting new wrinkle into a vital but somewhat under-explored dynamic.
giovedì 15 luglio 2010
Collaboration between AARON DILLOWAY (ex-WOLF EYES) and ROBERT TURMAN (ex-NON, Z.O. Voider). Recorded in January 2009 during a horrible Ohio snowstorm. Dilloway on synthesizer and tape delays and Turman on tapes and effects. Very minimal, very slow, very cold. Frozen and stuck in the snow.
sabato 10 luglio 2010
Christa Pfangen are Andrea Belfi and Mattia Coletti. The name is a hommage to Nico, although the music has obviously no relation with the icon of the New York avant garde scene. They belong to the new electroacoustic/improv/avant-rock scene which is taking shape in Italy and includes such names as 3/4HadBeenEliminated, Valerio Tricoli, Å, Stefano Pilia and others.
Working with percussion, treated guitar and an array of different objects and noises, they have given birth to a dynamic work of great beauty and reverberating rhythms, oscillating between avant folk and electroacoustic music.
martedì 6 luglio 2010
With a little cabin and digitally-altered woodland scenes decorating it, Pan Sonic member Ilpo Väisänen's solo disc is perhaps an industrial/microscopic ode to the great outdoors... who knows? With Scandinavian names appended to crunchy obscurities, Asuma could be about anything. For fans of that crunchy microsound though, it may well be more fun than a picnic in the forest...
| Muted drum-like pulsations sputter in the opening track, slowly gaining an electric fibrillation here, a tiny jitter there... until all evolves to become the buzzing entity of Autioitu I. Brassily ringing drones course through Tukahduttaja, backed by coarse, downwardly-sliding ripples. As if an energetic drummer's output were digitized into binary code the reinterpolated through Väisänen's computer, Klikki pips and pops with spunk, then suddenly veers into a murkier phase before recovering its previous rhythmic self. |
The mechanically droning atmospheres of Asumaton (8:51) shift on various thrumming layers, then are topped with higher-pitched arpeggios. Vallitseva blits and bleeps as more micro-syncopation pockmarks the dense, undulating surface, ringing with an increasingly glaring sheen. Quiet wisps intermittently flutter through Arvioimaton Ongelma (0:44), growing louder and spastically birdlike at its conclusion.
Jaettu's stark metered pulses synchronize before spattering into their own directions, regrouping and then fading away. Sporadic clicks keep time in Autioitu II, to be joined by distant mechanical resonance.
|1||Jean Bach -||Agaric And Bhab|
|2||Sissy Spacek -||Untitled|
|| Electronics - John Wiese
Featuring [Sampled Vocals] - Corydon Ronnau
|3||Cock E.S.P. -||Total Eclipse Of The Cock|
|5||Gang Wizard -||Untitled|
|6||Longstone -||Access Denied|
|7||Rose For Bohdan -||Dumptruck|
|10||Inca Eyeball -||Woodbines|
|11||Reynols -||Quito Plasno 1960|
|12||Planetarium (2) -||Call Of The Gnostic Hymn|
|13||Wrong (2) -||An Excersize In Lapsus Linguoe|
|14||Aube -||Ionosphere VI|
|15||Larz -||Where Were The Movers|
|16||Monotract -||Ebony DMD|
|17||Ashtray Navigations -||Brought Together|
|18||Big Whiskey -||Assasination Attempt|
|19|||||* -|| Agenda
domenica 4 luglio 2010
Sachiko M: sampler with sine wave
Yoshihide Otomo: records, CDs
Recorded by Yoshiaki Kondo at GOK Sound, Tokyo on July 20, 1998
Mixed by Yoshiaki Kondo at GOK Sound, Tokyo in March 1999
Mastered by Kazunao Nagata at Transonic Studio, Tokyo in March 1999
Design: Günter Müller
Produced by Sachiko M, Günter Müller, and Yoshihide Otomo
Released April 1999
venerdì 2 luglio 2010
Documenting installation projects (Florence, Curitiba, Roskilde, Chicago) and the performativities around building, installing, recording, amplifying, sound and space, music and architecture, as a concert that reaches out and incorporates art and audience alike, activating sound and object, buildings and bodies.