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viewing 1 To 16 of 16 items
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CD
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LY 003CD
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Caterina Barbieri is set to release Myuthafoo, the sister album of 2019's acclaimed Ecstatic Computation. Written at the same time, both albums are based on creative sequencing processes that playfully unravel Barbieri's deep-rooted interest in time, space, memory, and emotion. And since she was set to re-release Ecstatic Computation on her light-years imprint (LY 002CD/LP/C-LP), it made sense to accompany that album with this intimately entangled set of unreleased recordings. Barbieri had been touring excessively at the time, and her process began to shift in response to that nomadic, interactive energy. Using the Orthogonal ER-101 modular sequencer, Barbieri manually programmed patterns into the device and fed them into her arsenal of noise generators, trialling different combinations at each show. If an idea worked well in the live environment, she would put it aside, letting longer pieces breathe and transform as they sprung to life and developed organically. It's a process she relates to her interest in cosmogony, the study of the universe's origins; her music is rooted in the limitations of a small number of options that branch out into a much larger structure, eventually reaching towards an open-ended cosmos of possibility. From "Math of You", it's clear that the sounds are grounded in a similar sonic philosophy, blipping synth sequences nudge alongside each other harmonically, disrupting trance's addicting euphoria with filigree polyrhythmic pulses. Like "Fantas" before it, the track is focused around emotionally affecting repeating phrases, but a closer examination reveals hidden intricacies as these phrases flicker like illusions, dissolving and dissipating as they snake and weave. The album's title track is most generous and tender, blunting Barbieri's usually razor-sharp sequences into rubbery Möbius strips that twist romantically, bending back on each other. It gazes at the stars from an atemporal vantage point, relying on synapse-popping psychedelic logic and established physics. Meanwhile, "Sufyosowirl" is rigorous and rhythmic, as melodically charged as pop music and soaring as Jean-Michel Jarre's lavish stadium electronics. The closing track "Swirls of You" encases Barbieri's celestial sequences in gaseous vapors, allowing the music to ascend slowly and purposefully until it flickers and fades to nothing. Barbieri's music sounds like it has a life of its own, endlessly expanding and transmuting until it can develop its own rules and gestures. Myuthafoo teases an ecosystem where technology and biology are intertwined, and the past, present, and future are part of the same essential narrative.
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LY 003LP
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LP version. Black vinyl. Caterina Barbieri is set to release Myuthafoo, the sister album of 2019's acclaimed Ecstatic Computation. Written at the same time, both albums are based on creative sequencing processes that playfully unravel Barbieri's deep-rooted interest in time, space, memory, and emotion. And since she was set to re-release Ecstatic Computation on her light-years imprint (LY 002CD/LP/C-LP), it made sense to accompany that album with this intimately entangled set of unreleased recordings. Barbieri had been touring excessively at the time, and her process began to shift in response to that nomadic, interactive energy. Using the Orthogonal ER-101 modular sequencer, Barbieri manually programmed patterns into the device and fed them into her arsenal of noise generators, trialling different combinations at each show. If an idea worked well in the live environment, she would put it aside, letting longer pieces breathe and transform as they sprung to life and developed organically. It's a process she relates to her interest in cosmogony, the study of the universe's origins; her music is rooted in the limitations of a small number of options that branch out into a much larger structure, eventually reaching towards an open-ended cosmos of possibility. From "Math of You", it's clear that the sounds are grounded in a similar sonic philosophy, blipping synth sequences nudge alongside each other harmonically, disrupting trance's addicting euphoria with filigree polyrhythmic pulses. Like "Fantas" before it, the track is focused around emotionally affecting repeating phrases, but a closer examination reveals hidden intricacies as these phrases flicker like illusions, dissolving and dissipating as they snake and weave. The album's title track is most generous and tender, blunting Barbieri's usually razor-sharp sequences into rubbery Möbius strips that twist romantically, bending back on each other. It gazes at the stars from an atemporal vantage point, relying on synapse-popping psychedelic logic and established physics. Meanwhile, "Sufyosowirl" is rigorous and rhythmic, as melodically charged as pop music and soaring as Jean-Michel Jarre's lavish stadium electronics. The closing track "Swirls of You" encases Barbieri's celestial sequences in gaseous vapors, allowing the music to ascend slowly and purposefully until it flickers and fades to nothing. Barbieri's music sounds like it has a life of its own, endlessly expanding and transmuting until it can develop its own rules and gestures. Myuthafoo teases an ecosystem where technology and biology are intertwined, and the past, present, and future are part of the same essential narrative.
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LY 003C-LP
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LP version. Red vinyl. Caterina Barbieri is set to release Myuthafoo, the sister album of 2019's acclaimed Ecstatic Computation. Written at the same time, both albums are based on creative sequencing processes that playfully unravel Barbieri's deep-rooted interest in time, space, memory, and emotion. And since she was set to re-release Ecstatic Computation on her light-years imprint (LY 002CD/LP/C-LP), it made sense to accompany that album with this intimately entangled set of unreleased recordings. Barbieri had been touring excessively at the time, and her process began to shift in response to that nomadic, interactive energy. Using the Orthogonal ER-101 modular sequencer, Barbieri manually programmed patterns into the device and fed them into her arsenal of noise generators, trialling different combinations at each show. If an idea worked well in the live environment, she would put it aside, letting longer pieces breathe and transform as they sprung to life and developed organically. It's a process she relates to her interest in cosmogony, the study of the universe's origins; her music is rooted in the limitations of a small number of options that branch out into a much larger structure, eventually reaching towards an open-ended cosmos of possibility. From "Math of You", it's clear that the sounds are grounded in a similar sonic philosophy, blipping synth sequences nudge alongside each other harmonically, disrupting trance's addicting euphoria with filigree polyrhythmic pulses. Like "Fantas" before it, the track is focused around emotionally affecting repeating phrases, but a closer examination reveals hidden intricacies as these phrases flicker like illusions, dissolving and dissipating as they snake and weave. The album's title track is most generous and tender, blunting Barbieri's usually razor-sharp sequences into rubbery Möbius strips that twist romantically, bending back on each other. It gazes at the stars from an atemporal vantage point, relying on synapse-popping psychedelic logic and established physics. Meanwhile, "Sufyosowirl" is rigorous and rhythmic, as melodically charged as pop music and soaring as Jean-Michel Jarre's lavish stadium electronics. The closing track "Swirls of You" encases Barbieri's celestial sequences in gaseous vapors, allowing the music to ascend slowly and purposefully until it flickers and fades to nothing. Barbieri's music sounds like it has a life of its own, endlessly expanding and transmuting until it can develop its own rules and gestures. Myuthafoo teases an ecosystem where technology and biology are intertwined, and the past, present, and future are part of the same essential narrative.
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LY 002LP
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LP version. Black vinyl. Three years after the original release date of Caterina Barbieri's career-defining album Ecstatic Computation, the Italian artist reissues the record on her newly found own label light-years. The reissue features a beautifully reworked version of the original cover art. Caterina Barbieri is an Italian composer who explores themes related to machine intelligence and object-oriented perception in sound through a focus on minimalism. Ecstatic Computation revolves around the creative use of complex sequencing techniques and pattern-based operations to explore the artifacts of human perception and memory processes by ultimately inducing a sense of ecstasy and contemplation. Computation is turned from being a formal, automatic writing technique into a creative, psychedelic practice to generate temporal hallucinations. A state of trance and wonder where the perception of time is distorted and challenged. Equally nervous and ecstatic, the fast permutation of patterns can create a state where time stands still whilst simultaneously being in motion. Is this propulsive music moving forward or backward? As long as the perception of the present is constantly enhanced and refreshed in an endless sense of loss, re-discovery and the search for self-orientation this question lies mute aside the thrilling and perplexing moment of the matter at hand. CD version includes a previously unreleased song. LP versions available on black vinyl (LY 002LP) and silver vinyl (LY 002C-LP). "Caterina Barbieri uses music to bend time and space around her. It's a warp-speed jump where everything seems to move slower and faster all at once." --Pitchfork
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LP
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LY 002C-LP
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LP version. Silver vinyl. Three years after the original release date of Caterina Barbieri's career-defining album Ecstatic Computation, the Italian artist reissues the record on her newly found own label light-years. The reissue features a beautifully reworked version of the original cover art. Caterina Barbieri is an Italian composer who explores themes related to machine intelligence and object-oriented perception in sound through a focus on minimalism. Ecstatic Computation revolves around the creative use of complex sequencing techniques and pattern-based operations to explore the artifacts of human perception and memory processes by ultimately inducing a sense of ecstasy and contemplation. Computation is turned from being a formal, automatic writing technique into a creative, psychedelic practice to generate temporal hallucinations. A state of trance and wonder where the perception of time is distorted and challenged. Equally nervous and ecstatic, the fast permutation of patterns can create a state where time stands still whilst simultaneously being in motion. Is this propulsive music moving forward or backward? As long as the perception of the present is constantly enhanced and refreshed in an endless sense of loss, re-discovery and the search for self-orientation this question lies mute aside the thrilling and perplexing moment of the matter at hand. CD version includes a previously unreleased song. LP versions available on black vinyl (LY 002LP) and silver vinyl (LY 002C-LP). "Caterina Barbieri uses music to bend time and space around her. It's a warp-speed jump where everything seems to move slower and faster all at once." --Pitchfork
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CD
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LY 002CD
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Three years after the original release date of Caterina Barbieri's career-defining album Ecstatic Computation, the Italian artist reissues the record on her newly found own label light-years. The reissue features a beautifully reworked version of the original cover art. Caterina Barbieri is an Italian composer who explores themes related to machine intelligence and object-oriented perception in sound through a focus on minimalism. Ecstatic Computation revolves around the creative use of complex sequencing techniques and pattern-based operations to explore the artifacts of human perception and memory processes by ultimately inducing a sense of ecstasy and contemplation. Computation is turned from being a formal, automatic writing technique into a creative, psychedelic practice to generate temporal hallucinations. A state of trance and wonder where the perception of time is distorted and challenged. Equally nervous and ecstatic, the fast permutation of patterns can create a state where time stands still whilst simultaneously being in motion. Is this propulsive music moving forward or backward? As long as the perception of the present is constantly enhanced and refreshed in an endless sense of loss, re-discovery and the search for self-orientation this question lies mute aside the thrilling and perplexing moment of the matter at hand. CD version includes a previously unreleased song. "Caterina Barbieri uses music to bend time and space around her. It's a warp-speed jump where everything seems to move slower and faster all at once." --Pitchfork
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CD
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LY 001CD
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The musical vortexes of Caterina Barbieri rewire time and space. Listening to the Italian composer and modular synth virtuoso has felt like traveling at light-speed and slow-motion all at once since 2017's breakthrough Patterns Of Consciousness. 2019's acclaimed Ecstatic Computation pushed even further with the lead single "Fantas". Far beyond any new age trope or modern synth trend, her music stands alone in its ecstatic intensity and cataclysmic emotional impact. Marking the debut album on her new label light-years, Barbieri now delivers her most profound work yet -- a journey through inner-space as vast as a universe and as intimate as a heartbeat. Spirit Exit is Caterina Barbieri's time machine, primarily composed with a modular synth rig she thinks of more like a mechanical fortune teller. Whereas previous releases were constructed on lengthy tours, capturing only snapshots of continually evolving works, Spirit Exit represents the producer's first album fully written and recorded in her home studio amidst Milan's two-month pandemic lockdown in 2020. It was during this extended isolation she found inspiration from female philosophers, mystics and poets spread across time, but united in their strength at cultivating vast internal worlds. St. Teresa D'Avila's foundational 16th century mystical text The Interior Castle, philosopher Rosi Braidotti's posthuman theories and the metaphysical poetry of Emily Dickinson act as thematic anchors throughout Spirit Exit. Spirit Exit crystallizes Barbieri's densely layered, blindingly bright synth arrangements while introducing stunning new elements that feel as if they've always belonged. Strings and guitar flawlessly thread into the composer's web of modular patches, while her revelatory singing voice often cuts right through them. Melodies remain Barbieri's great passion and obsession and on Spirit Exit they grow as large as planets before cracking into atoms. The sweeping "At Your Gamut" perfects the producer's dramatic, slow-burning openers, but in her first ever use of sampling, it later gets crushed, accelerated and unrecognizably transformed into the ghostly hook surging through "Terminal Clock". As the album closes on "The Landscape Listens" -- a song that approaches death with all the gentle grace of Brian Eno's "An Ending (Ascent)".
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2LP
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LY 001LP
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Double-LP version. The musical vortexes of Caterina Barbieri rewire time and space. Listening to the Italian composer and modular synth virtuoso has felt like traveling at light-speed and slow-motion all at once since 2017's breakthrough Patterns Of Consciousness. 2019's acclaimed Ecstatic Computation pushed even further with the lead single "Fantas". Far beyond any new age trope or modern synth trend, her music stands alone in its ecstatic intensity and cataclysmic emotional impact. Marking the debut album on her new label light-years, Barbieri now delivers her most profound work yet -- a journey through inner-space as vast as a universe and as intimate as a heartbeat. Spirit Exit is Caterina Barbieri's time machine, primarily composed with a modular synth rig she thinks of more like a mechanical fortune teller. Whereas previous releases were constructed on lengthy tours, capturing only snapshots of continually evolving works, Spirit Exit represents the producer's first album fully written and recorded in her home studio amidst Milan's two-month pandemic lockdown in 2020. It was during this extended isolation she found inspiration from female philosophers, mystics and poets spread across time, but united in their strength at cultivating vast internal worlds. St. Teresa D'Avila's foundational 16th century mystical text The Interior Castle, philosopher Rosi Braidotti's posthuman theories and the metaphysical poetry of Emily Dickinson act as thematic anchors throughout Spirit Exit. Spirit Exit crystallizes Barbieri's densely layered, blindingly bright synth arrangements while introducing stunning new elements that feel as if they've always belonged. Strings and guitar flawlessly thread into the composer's web of modular patches, while her revelatory singing voice often cuts right through them. Melodies remain Barbieri's great passion and obsession and on Spirit Exit they grow as large as planets before cracking into atoms. The sweeping "At Your Gamut" perfects the producer's dramatic, slow-burning openers, but in her first ever use of sampling, it later gets crushed, accelerated and unrecognizably transformed into the ghostly hook surging through "Terminal Clock". As the album closes on "The Landscape Listens" -- a song that approaches death with all the gentle grace of Brian Eno's "An Ending (Ascent)".
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2LP
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LY 001C-LP
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Double-LP version. Silver vinyl. The musical vortexes of Caterina Barbieri rewire time and space. Listening to the Italian composer and modular synth virtuoso has felt like traveling at light-speed and slow-motion all at once since 2017's breakthrough Patterns Of Consciousness. 2019's acclaimed Ecstatic Computation pushed even further with the lead single "Fantas". Far beyond any new age trope or modern synth trend, her music stands alone in its ecstatic intensity and cataclysmic emotional impact. Marking the debut album on her new label light-years, Barbieri now delivers her most profound work yet -- a journey through inner-space as vast as a universe and as intimate as a heartbeat. Spirit Exit is Caterina Barbieri's time machine, primarily composed with a modular synth rig she thinks of more like a mechanical fortune teller. Whereas previous releases were constructed on lengthy tours, capturing only snapshots of continually evolving works, Spirit Exit represents the producer's first album fully written and recorded in her home studio amidst Milan's two-month pandemic lockdown in 2020. It was during this extended isolation she found inspiration from female philosophers, mystics and poets spread across time, but united in their strength at cultivating vast internal worlds. St. Teresa D'Avila's foundational 16th century mystical text The Interior Castle, philosopher Rosi Braidotti's posthuman theories and the metaphysical poetry of Emily Dickinson act as thematic anchors throughout Spirit Exit. Spirit Exit crystallizes Barbieri's densely layered, blindingly bright synth arrangements while introducing stunning new elements that feel as if they've always belonged. Strings and guitar flawlessly thread into the composer's web of modular patches, while her revelatory singing voice often cuts right through them. Melodies remain Barbieri's great passion and obsession and on Spirit Exit they grow as large as planets before cracking into atoms. The sweeping "At Your Gamut" perfects the producer's dramatic, slow-burning openers, but in her first ever use of sampling, it later gets crushed, accelerated and unrecognizably transformed into the ghostly hook surging through "Terminal Clock". As the album closes on "The Landscape Listens" -- a song that approaches death with all the gentle grace of Brian Eno's "An Ending (Ascent)".
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2LP
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EMEGO 279LP
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"Fantas" is the epic opening track on Caterina Barbieri's acclaimed 2019 release Ecstatic Computation (EMEGO 259LP, 2019). The original "Fantas" laid out a magical path of patterns leading the listener on a journey into the sound itself. Fantas Variations maps out eight new potentials sprung from this initial path as constructed by a diverse mix of artists lending to a wide spectrum of new works extrapolated from the original work. For this project Barbieri invited friends and long-time collaborators from a variety of musical backgrounds to create a more sustainable and inclusive landscape in terms of stylistic, geographical, gender, and generational balance. The results are a diverse array of approaches and instrumentation which blur the boundaries between the acoustic and electronic. Fantas Variations embraces a platform for mutual exchange and support between like-minded artists, where active and collective re-imagination is prioritized over the traditional model of remixes, which is often strategic, functional and more passive. Longtime friend and collaborator Kali Malone rearranged "Fantas" to a slowed-down, austere and eerie version for two organs. Evelyn Saylor created a piece for a vocal ensemble consisting of her, Lyra Pramuk, Stine Janvin, and Annie Garlid, joining forces to express the choral, psychedelic and vital nature of the piece. Barbieri's former guitar professor at the Conservatory in Bologna, Walter Zanetti, composes "Fantas" for electric guitar, by translating every single gesture of the original electronic piece into a personal, nuanced and detailed interpretation. Bendik Giske's reinterpretation for saxophone and voice captures the atmospheric essence of "Fantas" and its psychic meteorology. Longtime collaborator and along with Barbieri the other half of the outfit Punctum, Carlo Maria, resynthesizes "Fantas" for TR808 and MC202, bringing a more club-oriented dimension of the piece to life whilst unveiling the sonic continuum between rhythm and pitch through a sensitive timbral approach. Jay Mitta's Singeli reinterpretation of "Fantas" transpires with pitched-up percussion and turbo-fast polyrhythmic patterns unleashing the frenetic, shifting, transformative matter within the piece to a higher plain of euphoric dance. Baseck's variation is a rave fantasia, where the prismatic trance of the original is channeled into fierce, uncompromising hardcore, whilst Kara-Lis Coverdale's take is a phantasmagoria for piano that gently, yet inexorably, captures the relentlessness chimerical qualities of the original, unveiling its spectral backbone. Mastered by Rashad Becker, February 2021. Cut by Andreas Kauffelt at Schnittstelle, Berlin, February 2021. Artwork and typography by Ruben Spini. Lettering by Alice Fiorelli.
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Cassette
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SAUNA 022CS
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2021 reprint. Norelco plastic case. Vertical is Caterina Barbieri's debut album and it was composed for vocals and Buchla 200 modular synthesizer. Vertical takes a meditative approach to primary waveforms and the polyrhythm of harmonics, stretching the boundaries between drone, minimalism and techno in multichannel systems. This minimalistic focus arises from the polyrhythmic and stratigraphic potential of voltage-controlled sequencers. Synthesis, drone and immersive listening are three fundamental conditions to enhance an advanced auditory art, not based on extrinsic links but solely built on the experience of the spectrum, able to develop our very limited ability of perceiving the vertical domain of music, involving us in a holistic way. Caterina Barbieri (1990) is a composer and performer of electro-acoustic music. Mostly interested in modular synthesis, three-dimensional spatialization and psychoacoustic aural sculpture, her music arises from a meditative approach to primary waveforms and the polyrhythm of harmonics. She received a degree in classical guitar and electro-acoustic music at the conservatory of Bologna, Italy (plus an exchange program at the Royal College of Music in Stockholm, Sweden) with a thesis about time, space and spectrum in vertical music. She's currently attending a Bachelor in Literature and she's active as an audiovisual artist, acousmatic composer and guitarist. Her work has been commissioned and performed in festivals and venues of experimental music.
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CD
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IMPREC 460CD
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Now available on CD for the first time. Includes the bonus track "Bestie Infinite" from her 2018 split LP with Eleh. Born Again In The Voltage is an astonishing collection of electro-acoustic pieces for Buchla 200 system, cello, and voice composed and produced by Caterina Barbieri at Elektronmusikstudion (SE) between 2014 and 2015. Cello by Antonello Manzo. Images by Giovanni Brunetto; Photography by Angelo Jaroszuk Bogasz; Layout by Important Records. Mastering by Giuseppe Ielasi.
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CD
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IMPREC 449CD
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Now available on CD for the first time. Patterns Of Consciousness is the powerful second full-length from analog synth composer Caterina Barbieri. Gorgeous high resolution analog textures and algorithmic melodies unfold under Barbieri's careful control, exploring the basic nature of sound and consciousness. These pieces are minimal in arrangement but maximal in presence asserting Barbieri as a unique voice in contemporary electronic music composition. Patterns Of Consciousness was originated by ideally infinite permutation of patterns through a disciplined and exclusive use of machinery (an indexed quad sequencer and a harmonic oscillator). By means of subtraction, addition, and jitter operations, Barbieri derives a myriad of interlocking patterns extracted from an original matrix of just few harmonic archetypes, gradually developing the potential of the reduced constellation of pitches and durations determined in advance. Pushing the limits of her monophonic instrument, Barbieri seeks out counterpoint from a single oscillator through the exclusive use of additive synthesis, fast progressions, extreme melodic jumps, and intricate delay lines. She develops an illusory counterpoint style influenced by her passion for baroque lute music, where fast arpeggios are employed to get effects of sustained chords and overcome the limits of fast decay timbres. But the highly formulaic and germinative style of these pieces is also influenced by Indian classical music's vision of sound as an agent of change and recreation. Patterns are understood as the cells of an organism or the units of a language: a limited set of signs that can be recombined to always generate new possibilities. In POC, repetition and permutation of patterns are explored as tools to reconfigure perceptions and bend emotions, approaching sound as a medium to develop and master our own perceptual art. Emerging machine intelligence, human desire of pattern detection and the understanding of music as a cognitive feedback between humans and technology are primary sources of inspiration for this work. All the compositions share a common fatalistic tension, an impossible running, a restless rush - somewhat nervous somewhat ecstatic - to grasp a meaning out of fragments. Every piece in POC is conceived as a generative entity, a dynamic and living being able to develop its own organic laws, whose inner potential of growth and change is embedded in the initial instructions of the sequencer. Music produced by Caterina Barbieri between September 2015 and January 2016. Mixed at EMS (Elektronmusikstudion) in Stockholm. RIYL: Alessandro Cortini, Eleh.
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LP
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EMEGO 259LP
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Caterina Barbieri is an Italian composer who explores themes related to machine intelligence and object-oriented perception in sound through a focus on minimalism. Following 2017's acclaimed double-LP Patterns Of Consciousness (IMPREC 449LP), Ecstatic Computation is the new full-length LP by Caterina Barbieri. The album revolves around the creative use of complex sequencing techniques and pattern-based operations to explore the artefacts of human perception and memory processes by ultimately inducing a sense of ecstasy and contemplation. Computation is turned from being a formal, automatic writing technique into a creative, psychedelic practice to generate temporal hallucinations. A state of trance and wonder where the perception of time is distorted and challenged. Equally nervous and ecstatic, the fast permutation of patterns can create a state where time stands still whilst simultaneously being in motion. Is this propulsive music moving forward or backward? As long as the perception of the present is constantly enhanced and refreshed in an endless sense of loss, re-discovery and the search for self-orientation this question lies mute aside the thrilling and perplexing moment of the matter at hand. Vocals on "Arrows Of Time" performed by Annie Gårlid and Evelyn Saylor; recorded by Stefano Tucci at Failsafe Studio. Artwork by Ruben Spini. Mastered by Rashad Becker at Dubplates & Mastering.
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LP
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IMPREC 460LP
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2023 restock. Born Again In The Voltage is an astonishing collection of electro-acoustic pieces for Buchla 200 system, cello, and voice composed and produced by Caterina Barbieri at Elektronmusikstudion (SE) between 2014 and 2015. Cello by Antonello Manzo. Images by Giovanni Brunetto; Photography by Angelo Jaroszuk Bogasz; Layout by Important Records. Mastering by Giuseppe Ielasi.
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2LP
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IMPREC 449LP
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2023 repress. Patterns Of Consciousness is the powerful second full-length from analog synth composer Caterina Barbieri. Gorgeous high resolution analog textures and algorithmic melodies unfold under Barbieri's careful control, exploring the basic nature of sound and consciousness. These pieces are minimal in arrangement but maximal in presence asserting Barbieri as a unique voice in contemporary electronic music composition. Patterns Of Consciousness was originated by ideally infinite permutation of patterns through a disciplined and exclusive use of machinery (an indexed quad sequencer and a harmonic oscillator). By means of subtraction, addition, and jitter operations, Barbieri derives a myriad of interlocking patterns extracted from an original matrix of just few harmonic archetypes, gradually developing the potential of the reduced constellation of pitches and durations determined in advance. Pushing the limits of her monophonic instrument, Barbieri seeks out counterpoint from a single oscillator through the exclusive use of additive synthesis, fast progressions, extreme melodic jumps, and intricate delay lines. She develops an illusory counterpoint style influenced by her passion for baroque lute music, where fast arpeggios are employed to get effects of sustained chords and overcome the limits of fast decay timbres. But the highly formulaic and germinative style of these pieces is also influenced by Indian classical music's vision of sound as an agent of change and recreation. Patterns are understood as the cells of an organism or the units of a language: a limited set of signs that can be recombined to always generate new possibilities. In POC, repetition and permutation of patterns are explored as tools to reconfigure perceptions and bend emotions, approaching sound as a medium to develop and master our own perceptual art. Emerging machine intelligence, human desire of pattern detection and the understanding of music as a cognitive feedback between humans and technology are primary sources of inspiration for this work. All the compositions share a common fatalistic tension, an impossible running, a restless rush - somewhat nervous somewhat ecstatic - to grasp a meaning out of fragments. Every piece in POC is conceived as a generative entity, a dynamic and living being able to develop its own organic laws, whose inner potential of growth and change is embedded in the initial instructions of the sequencer. Music produced by Caterina Barbieri between September 2015 and January 2016. Mixed at EMS (Elektronmusikstudion) in Stockholm. RIYL: Alessandro Cortini, Eleh.
Caterina Barbieri on Patterns Of Consciousness: "A pattern creates a certain state of consciousness. Once it is created, the pattern stands as an object exactly like the sound waves which generate it. We are at the same time inside and outside of the object. While being it, we observe it. Over time we become familiar with the inner structure of the pattern. We decode its gravitational centres, where our psychomotor attention is attracted, where everything seems to be drawn. When a change in the pattern occurs it causes a perturbation of the previously established field of forces. This causes consciousness to fracture, potentially unfolding layers of perceptions we weren't aware of or simply suggesting that we access only a fraction of our psychic potential. The layered nature of consciousness and the relativity of perception are some of the biggest secrets we can experience through sound."
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