Cinque tracce che implicano uno sguardo diverso, un modo nuovo di relazionarsi con il mondo che ci circonda, puro soundscaping di ambienti quotidiani.
Da qui il titolo dell’ep, Panorami Verticali, inteso come nuova interazione con il contesto, non più ordinario ma traslato in una differente dimensione, perpendicolare in questo caso, come la linea immaginaria che dal suolo, passando per le gambe, arriva alla testa: i rumori del panorama risultano ritmicamente e armonicamente autonomi, autocelebrativi, liberi e danzanti nello spazio sonoro e dalla terra risalgono per essere ricodificati dalla mente di chi ascolta.
Slegati dalla normale classificazione culturale, i suoni acquistano un significato indipendente, risultato di un’elaborazione diversa in ognuno, facendo in modo che la passiva routine diventi presenza e l’io, il singolo, l’ascoltatore, archetipo più che mai collettivo in questo caso, un tutt’uno con il contesto sonoro.
Il mare (“Osservazione partecipata”), le automobili per strada, una stazione ferroviaria, ma anche il rumore di un cancello e il giardino vuoto di una scuola (“Troppe trame”), gli interni di una fabbrica di acciaio (“Basta che poi ci ricordiamo dove”), sono l’esito di sessioni di registrazioni sul campo elaborate, dilatate e intrecciate con un synth ‘organico’ (Lyra 8, Soma), droni, tape loop e sequenze suonate con tastiere modificate.
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Five tracks that involve a different vision, a new way of relating to the world around us, based on the essence of everyday environments soundscaping.
Hence the title of the ep, Panorami Verticali, intended as a new interaction with the context, no longer ordinary but translated into a different dimension, perpendicular in this case, like the imaginary line that from the ground, passing through legs, reaches the head : the noises are rhythmically and harmonically autonomous, self-celebrating, free and dancing in the sound space and from the earth they rise to be recoded by the mind of the listener.
Disconnected from the normal cultural classification, sounds acquire an independent meaning, result of a different elaboration in each one, making the passive routine become presence and the ego, the individual, the listener, more than ever collective archetype, one with the sound context.
The sea (“Osservazione partecipata”), cars on the street, a train station, but also the sound of a gate and the empty garden of a school (“Troppe trame”), the interiors of a steel factory (“Basta che poi ci ricordiamo dove”), are the result of elaborate, dilated and intertwined field recording sessions, played with an 'organic' synth (Lyra 8, Soma), drones, tape loops and modified keyboards sequences.
Graduated in Art History at DAMS in Bologna, he is a bass and guitar player and an electroacoustic music composer. His work
is characterized by field recordings, tapes, synths and modular systems. He is also a director of photography and films and documentaries director....more
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