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GRA 005LP
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Sandro Mussida presents EEEOOOSSS, music on three tuning systems, for electric guitar, bass clarinet and cello samples. Personnel: Alessandra Novaga - electric guitar (e-bow), tuning: twelve true fifths (*renold I); Edgardo Barlassina - bass clarinet, tuning: hypodorian aulos; Sandro Mussida - cello, tuning: just intonation (*II partials). Mastered by Giuseppe Ielasi. Edition of 300.
"During the last few years, I've found myself more and more attracted to sounds that are somehow connected to slow, intentional musical gestures. This slowing down of the musical gesture makes it possible for me to pause, to observe and listen to the richness, the details and nuances of the timbres. It also reveals the relationships between sounds in space and time. This kind of listening from a closer perspective also amplifies the connection between timbre and frequency making it possible to investigate even the smallest differences in the intervals. EEEOOOSSS is the encounter between three instruments, each one tuned according to a different tuning system. This meeting was conceived and designed over a period of years but only once took place in the Church of S. Giusto, Volterra, Italy, during the night of the 12th of August, 2018, in the nave, the transepts and the choir. Each of the three temperaments embodies specific characteristics, amplified by the instrument assigned to play it. The dark (almost pure and 'spaceless') tone produced by the e-bow on the strings of the guitar gives voice to the clear tones of the Pythagorean Tuning. The air resonating into the clarinet produces the frequencies of a system derived from the tuning of the ancient Greek flute. As a conclusion, I recorded on the cello one of the scales obtained from the exact relations observed in the partial harmonics of the second octave. Each of these three sounds possesses, in fact, a very different balance between inharmonic and harmonic qualities, from the almost pure sound of the e-bowed electric guitar to that of the most inharmonic, horse-hair bowed cello. Thus, electric guitar, clarinet, and cello are treated as raw material, modeled in their form (primarily through filters and envelope constraints), but without changing their individual distinctive timbral character. The real shaping factor, is, in fact, the architectural space, which added multiple reflections to these materials during the live session, amplifying asymmetric partials, dilating some of the frequencies and interweaving these three scale systems one into the other. Temporarily structured into the domain of software, the gestures acted upon by these sounds are complete in itself. Repetition is illusory, it appears only on the surface. These three meditations are also an occasion to investigate the boundaries between the abstract dimension of electronic music and the living body of a concert." Sandro Mussida Firenze, April 5, 2019
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LP
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GRA 004LP
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The result of a long period of study and retirement in a house in the Bologna countryside in the first three months of 2018, Kenosis renews the meeting between Stefano Pilia and Massimo Pupillo (already together on several tours of ZU and in the Zu93 project, together with David Tibet). A Greek word of Gnostic derivation (literally meaning "emptying"), Kenosis is the result of a process of composition that saw the two musicians move away from their usual writing methods and from the conventional use of their instruments, to push themselves towards a sound, only apparently electronic, at the limit between the organic and inorganic world. Everything you hear in Kenosis was played, simply using a bass and an electric guitar processed analogically, often improvising in very long sessions, the starting point for the actual composition. The drawings of the Red Book of Jung, open every day on a different page and left in front of the mixer, have marked the writing of the album which shows, among other things, the shared passion for the harmonic method of Arvo Part and the research underground of certain Italian artists, in particular Roberto Musci. In the DNA of these pieces, inspiring elements such as the Diamond Sutra, the meditation lessons of Joseph Goldstein, the bell towers, the sounds of birds in the fields surrounded the studio. "This is music that is simply passed through us."
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