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SOAVE 032LP
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$35.50
PREORDER
RELEASE DATE: 12/13/2024
Roberto Musci, born in Milan in 1956, studied guitar, music and electronic instruments. His self-produced debut album, The Loa of Music, is a seminal work of staggering originality and extraordinary beauty in which field recordings, musique concrète, electronics, synthesis and instrumentation are interwoven, drawing on the countless musics from around the world that he has recorded. The subsequent Water messages on desert sand, composed with Giovanni Venosta, was nominated for a Grammy in the UK in 1987. From 1980 to the present, he has played with many Italian and European musicians: Giovanni Venosta, Claudio Gabbiani, Walter Prati, Giorgio Magnanensi, Massimo Cavallaro, Massimo Mariani, Moni Ovadia, Roberto Zorzi, Chris Cutler, Jon Rose David Moss, Steve Piccolo, Elliott Sharp, Keith Tippett, and the Third Ear Band. In Goodbye Monsters, harmony and peace are sought. "Memories Of A Piano Player" is a tribute to Keith Tippett, a great pianist (King Crimson, Centipede, Mujician) with whom he played in several concerts. "Quantum State" focuses on how quantum mechanics is creating a revolution in the way of thinking and dividing reality into infinite Parallel Worlds. "Panthalassa" is the vast ocean that surrounded Pangea and blends South American marimba music and traditional Chinese music. "Burn The Shadows" is a tribute to the fascinating Indonesian shadow theater, from the stories told and the atmosphere created during the long plays told in the sacred Indian texts of Ramayana or Mahabharata. "Pangea," named after the continent that contained all the land that emerged between 540 and 200 million years ago, in the Paleozoic and Mesozoic periods, imagined as inhabited by man without divisions created by borders, wars, religions or ethnic groups, is also a tribute to Steve Reich, one of the fathers and a great musician of minimal music. Prophecies, a reading of sacred texts and religious songs from evangelical sects in the United States filtered into granular synthesis with percussion music from South India, closes. An inspired Roberto Musci is increasingly aware of his hypnotic and visionary language. Limited edition of 300 numbered copies in white vinyl.
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CD BOX
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SVORBBOX 114CD
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$141.00
PREORDER
RELEASE DATE: 11/22/2024
Soave and Orbeatize present an impressive and stunning 14CD box set dedicated to the neglected and visionary Swiss electroacoustic composer Ernst Thoma. Reels 1977-1986 covers the first decade of Thoma's productions with its radically singular approach to experimental electronic music; highly rhythmic, ranging from poetic and minimal elegance to frenzy. In 80 tracks in total, some of the most engaging music of the late-20th century unfolds. Thoma began his formal musical studies at the Basel Academy of Music, working in the electronic music studio under composer David Johnson, and soon built and worked with oscillators, filters, and other electronic devices. Upon completion of these studies, he began the vast body of compositions that occupied much of his energies for the next few years of his life, also working within the UnknownmiX group, with Magda Vogel and Knut Remond, and collaborating with artists such as Peter Trachsel, Stephan Wittwer, and Gabi Delgado. A truly expansive and exploratory journey through an incredible array of minimal efforts that cover a considerable amount of ground while still managing to feel quite cohesive within their diversity, moving through proto-techno, flirting no-wave (in purely electronic form), improvisations, stellar allusions to math-rock and placing it deep into the most radical avant-garde zones. Undoubtedly one of the most important and ambitious archival releases of 2024.
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SOAVE 031LP
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Reissue, originally released in 1976. Soave dusts off in limited edition the psych/synth album by Doctor Steven T. Birchall recorded in 1973 in Indiana, U.S.A. with the following equipment: VCS-3 (The Putney) by EMS, Ampex MM-1000 16 trk, dbx noise reduction, SpectrasSonics Console, Studer A80 Recorder, Eventide Clockworks, Instant Phaser, Cooper Time Cube, EMT Reverb. The absolutely penetrating high tones of the opening track "Music Of The Spheres" announces that you are on board. Perhaps its best to say in the mind of Birchall who aims to go beyond those "normal" boundaries that can be called reality. It is a new world of music that still amazes after half a century. A higher stage of truth projected into the cosmos. Cover art by Earl. E. Hokens. Edition of 400.
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SOAVE 029LP
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Reissue. Edo is a cosmic ambient experimental masterpiece conceived in 1977 by Masashi Komatsubara and developed alongside Hideki Matsutake (aka Logic System and reductively defined by many as the "fourth member of the Yellow Magic Orchestra"). As a true sound scientist, he pours all his efforts into this record, and aimed at the widest possible use of an electronic instrument that was at the forefront at that time -- the Moog IIIc. He extends his research by trying to break down the last wall between modernity and the past: the union and eurythmy between artificial sounds and traditional sounds. All this through a perfect three-way collaboration together with the shamisen musician Konae Imato, and the creation of a unique and extraordinary charming work dedicated to the double soul of the capital of Japan: ancient Edo, now the current day city of Tokyo. Includes OBI and four-page inserts with text in Japanese and English.
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SOAVE 030LP
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"Sull'Accordo Mimetico (On the Mimetic Chord) dates back to the end of the '80s. It was commissioned by the artistic director of the ParcoScenico Festival, held in Treviso, Italy. Since the area where artists and the public gathered after the festival was located to a very busy street, Marco asked me for a sound installation that could work as some sort of a defensive barrier for the street noise. I suggested that my work, rather than hiding the noise, should aim to harmonize the disturbances coming from the street within musical structures and forms, without burdening or saturating too much the acoustic spectrum of the place. In this way, I thought about sonic veils, consisting of repetitive -- but also light and discreet -- harmonic-rhythmic structures. Since the festival took place in a beautiful centenary park, I also integrated the music with natural sounds and animal calls, always as an attempt to bridge these sound events and the other materials that made up the composition. The human voice constitutes a central element in this musique d'ameublement project, as a constant source of memory of places and times -- here with many references to traditional music for children." --Tiziano Popoli
A pearl of ambient electroacoustic minimalism with field recordings components in which the nostalgia of maestro Tiziano Popoli shines through in painting landscapes that slowly change to be seen with the ears. Nocturnal, emblematic, Lynchian.
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SOAVE 028LP
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After Dinner from Japan, embraced new wave, traditional Japanese music, free contemporary and avant-garde rock. Founded by female vocalist, musician and composer Haco in 1981, After Dinner broached a very interesting collective cohesion. Their backgrounds, though however various, brought them together during times of recording and live performance. 1982-85 includes all their first production; the complete first album Glass Tube, two tracks from the first 7" single and a bonus track from a 1985 compilation on Celluloid. Includes 24-pages booklet.
"A founding member of the legendary band After Dinner, Haco is one of the most versatile vocalists in the Japanese indies scene." --John Zorn
"Haco is capable of gallons of tenderness and melancholy." --Kurt Gottschalk
"Listening to After Dinner is like submerging yourself in water and going to sleep while playing Kate Bush on one CD player and traditional Japanese music on another." --Julian Cope
"Haco has a soft, airy voice and her lyrics (sung in both English and Japanese) are inflected with an intelligent sense of whimsy as she sings of the dreamier aspects of modern life." --Brian Olewnick
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SOAVE 027LP
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Soave present a reissue of Marcello Giombini and Enzo Barbarino's Transvitaexpress originally released in 1974. A psychophonic tale of the afterlife. One of the weirdest Italian albums ever released, Transvitaexpress is the sonorous realization of an idea that had been developing in me for some time and to which the encounter with the poet Barbarino gave the decisive push. Giombini's obscure trippy psychophonic masterpiece that rides in electronic and musique concrete using two ARP 2600 synthesizers, organ and electric piano. Obi strip.
"I used the 'tape-sound' technique, that is the organization and integration of sounds, noises, speech, song and rhythm, of which the resulting sound, being the result of electronic manipulation of the sound events themselves, is audible, therefore repeatable, only by means of magnetic tape. The sound material is, in part, reportage, so the work often takes on the character of a 'disc-truth', in part it is a faithful reconstruction of parapsychological events. We have defined this work 'Psycho-phonic tale' in fact it is a sound experience, that is, a journey into the world of sounds of an 'afterlife', rooted in us due to childhood, ancestral reminiscences, superstitions, legends, anxieties, utopias and above all fear. Fear of the mystery, fear of the unknown. Transvitaexpress is therefore the sound representation of these cultural and existential limits, and is therefore a critical, liberating, provocative work. I certainly do not expect, and perhaps I do not want someone after having listened to tell me that it is 'beautiful'. Transvitaexpress is the name of a train full of ... that travels in an afterlife so 'beyond' that it coincides with the most central point of my ego. Perhaps the most logical 'end-continuation' of life, the least imaginative, the least corrupt. The distortions, things that are too, or too little, defined, realistic situations, clichés, monotheisms and captions are embedded in the most traditional dream fabric, the most suitable in my opinion to promote approaches with the mysterious, with the esoteric, with the magical." --M. Giombini
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SOAVE 026LP
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From Ajanta to Lhasa is an intense and unique work with mystical and exotic references that sees the light for the first time in 40 years, and find its place among the must-haves artifacts of the Italian experimental/minimalist scene. In 1979, upon returning from a two-month trip to India, Arturo Stàlteri, a pianist of undisputed value and founder member of Italian prog duo Pierrot Lunaire, withdraws in his studio to set this strong experience to music. References to the overseas minimalism by Terry Riley, Philip Glass, and La Monte Young are obvious, as well as clear hints to Popol Vuh. The suite from which the album takes its title is inspired by the days Stàlteri spent in Ajanta exploring the cave paintings which made a great impression on him. The days he spent in Goa can be found in "Floating Moon", specifically an evening when a giant moon shrouded in fog, looking like a huge ball floating on the ocean, magically appeared. From Ajanta to Lhasa is the result of a search for an inner dimension free from the conditioning of Western civilization.
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SOAVE 024LP
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"Marco Dalpane's unreleased recording (mainly known for the cult album Scorie (SOAVE 010LP) released with Tiziano Popoli) produced in 1991 for Radio Rai as an accompaniment to the reading of Italo Calvino's Le città invisibili ('Invisible Cities'). First thing you notice is how Marco Dalpane personal soundtrack for Le città invisibili could be seen as a link towards the combinatorial approach adopted by Italo Calvino in the book, where he used the language as a semiotic system and the literature as a mechanism of possibilities, with the reader becoming active part in the process. You can see Dalpane detaching from a linear handling of the compositional resources, working instead with computer algorithms and emerging with a sound-sphinx that multiplies the listening interpretations, a sound that is characterized in form and timbre but at the same time is full of suggestions and summoning elements that the listener has to relate. In this it's evident a constant in the Dalpane's music, its sensitive side, away from every technical or conceptual precondition. In the five tracks created for this soundtrack, that finally are collected in this album, as in his other works, Marco is always capable to decode aesthetics coordinates of the cultural or temporary universe of reference, but mainly he is the vehicle of an artistic vision that is plausible incarnation of the essence of things, the very spirit of being a musician." --Christian Zingales Color vinyl; edition of 300.
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LP
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SOAVE 025LP
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Soave present a reissue of Roberto Musci, Giovanni Venosta, and Massimo Mariani's Losing The Orthodox Path, originally released in 1997. Color vinyl; edition of 300.
"How does one describe such a supremely crafted tapestry of sound and composition when there is such a rich canvas of details to appreciate it? As a homage to ancient music, Musci, Venosta and Mariani blend a powerful undercurrent of otherwordly intrigue and mysticism throughout their structures, resulting in an emotionally engaging experience unlike any other CD recording I've encountered. Most of the real-time playing is placed alongside and distinctly from the computer world, creating both a stimulating, dynamic and crossover references. There is much originality to reward both close and repeat listens. This isn't jazz, nor improvised; in their words, Losing The Orthodox Path is an homage to ancient music, but through an electro-acoustic approach. Our jazz and/or rock souls do the rest." --Michael King
Personnel: Roberto Musci - sampler, prepared electric guitar, tapes, CD player, treatments, synthesizer, rain-stick; Giovanni Venosta - prepared piano, organ, spinet, voice, ocarina, mouth, percussion, Jew's harp, sampler, synthesizer, tubes, digital percussion, pandaa (zither from Burkina Faso); Massimo Mariani - digital treatments & FX, voix, electronics, electric guitar, detuned acoustic guitar, harmonica, mouth, tapes, digital glockenspiel, mandolin, double bass, sampler, valiha (zither from Madagascar); Sandro Cerino - baritone, soprano and alto saxophones, contrabass clarinet; Moni Ovadia - Greek chant; Silvia Mandolini - violin; Roberto Zanisi - darbukas; Ciaccio De Rossi - violin; Cesare Picco - fake muted trumpet sound produced using mouth; Liliana Bancolini - voice; Laura Pone - voice; Amelie Gerson - voice and flute; Didier Aschour - voice.
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CD
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SOAVE 023CD
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Harmograph is a project by and with Matteo Scaioli. Matteo Scaioli summarized his latest research on sound by building various electromechanical instruments, one of which he called the "Harmograph", which gives the name to his whole project. Harmograph is basically a gong remodeled with a unique sound. Scaioli blends the sound of the Harmograph with other self-made instruments including Melodon's Voice, Phonograph Tape, Dhin "Tan" Pathè, and finally his favorite synth: the Prophet 5. Matteo Scaioli -- being a percussionist in the end -- built the Dhin "Tan" Pathé, a percussive instrument inspired by the Indian Mridangam, conceived and built starting from a 78rpm Pathè Bakelite disc of the early 1900s, where Scaioli assembles records in bakelite prepared by him creating rhythms and unpredictable sounds. The artisan dimension of the project is a further step in the continuous personal invention of sound machines and in the search of obsolete instruments, combined with contemporary electronic feel.
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SOAVE 022LP
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Soave present a reissue of Riccardo Sinigaglia's Ambient Music, originally released in 1985. "Futuro Antico, the mesmerizing collaboration of Riccardo Sinigaglia with Walter Maioli and Gabin Dabirè evoked in its name the uncanniness of simultaneously witnessing past and future. Ambient Music, Riccardo Sinigaglia's first solo work -- recorded in Dec. 1984 and originally out on cassette from ADN Tapes in 1985 -- ultimately delivers on that idea, embodying different irreconcilable time frames not just in name. From our vantage point, the sounds of the two performances -- "Watertube" and "Ringspiel" -- appear as though they arrive to us from a past which we have great difficulty in recognizing and imagining ourselves coming from while simultaneously working as a projection of a future that is both our contemporaneity yet also surpasses it. It's this ability that Riccardo Sinigaglia's work has of being both rooted in its context while instantaneously capable of transcending our own that makes him one of the key figures of that explosion of beauty and creativity that defines the peculiar iteration of radical minimalism that characterized the experimental and avant-garde music scene in Italy, particularly the Milanese one with its rich countercultural scenes crossing over into the long reverberating academic legacy of the Studio di Fonologia Musicale RAI di Milano during a hyperactive decade starting in the late 1970s . . . 'Watertube' starts as a synth and magnetic-tape based ambient soundscape that slowly adds what appears to be a prepared piano which eventually competes for audibility with a phrase that evokes the titular watertube, treated, looped, and stacked as it phase-shifts producing a busy polyrhythm that asynchronously gurgles and bubbles, approaching but never breaking into chaos. It's some strange version of Eno's oblique discreetness ostensibly being overwhelmed by the perversity of a Steve Reich-ian shape-shifting pattern but the moment the former is about to be overwhelmed the composition begins a slow recession back towards the system it originated from. 'Ringspiel' is a more playful yet warped affair, a complex ecology rather than a simple economy of sounds. Opening with a whimsical melody seemingly played on a prepared toy piano this gives way to a tape loop punctuated throughout the rest of the piece by individual sounds whose origins remain uncertain. These produce scattered melodies that underscore an electronic based minimalism with a synthetic heart that nonetheless showcases a pulsating, wet, fibrous core that beats with organic life. It ends not in the opening whimsy but in fragmenting percussive shards of sounds..." --Peter Sarram/Rome, March 2019
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2LP
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SOAVE 019-20LP
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2021 restock, reduced pricing. Soave present a reissue of Roberto Musci and Giovanni Venosta's A Noise, A Sound, originally released in 1992. The third episode of the alchemical association between Roberto Musci and Giovanni Venosta, reprinted for the first time. This work seems to be even more enigmatic than the previous ones. The "plunderphonics" style of the compositional process, significant to allowing a technical experimentalism of inexhaustible variety of materials used (compendium of sounds, harmonies, ethnic timbres) and the infinite possibilities of assembly between non-sense and provocation, still remains. You might be almost stimulated to guess -- in the articulated sound architectures of the tracks -- every single fragment of popular or cultured music from every part of the world (Asia, Africa, Middle East, South America) related to the ad hoc inserts of polyphonic instrumentation distorted and dazed. The music expressed is basically a polyhedral pataphysical gaze on the complexity of the existing, an immersion in the contradictory forces of reality; the attentive listener will be able to recognize the tortuous and magical lines of a free and imaginative artistic creation, which is absolutely counter-current and unconventional. Comes in gatefold sleeve.
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2LP
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SOAVE 017-18LP
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Soave present a joint reissue of two of Daniel Bacalov's albums: Il Ladro Di Anime (1984) and Diario Segreto Contraffatto (1985). Daniel Bacalov, composer of music for theater, cinema, and dance, studied classical guitar and percussion. He composed the music of numerous theatrical performances represented in many international theater festivals. His first two publications on LP were Il Ladro Di Anime, presented at the Venice Biennial of 1984 and Diario Segreto Contrattato. Soave offer these two fundamental documents of the period, reprinting them for the first time in a limited edition on double LP. The compositions are mainly structured on ethnic percussions played in a masterly manner, accompanied by acoustic guitars and synths of the time, in particular the DX7 and PPG Wave. The dictated rhythm unites the show as a universal and indeterminate single body. In those years the theater in Italy broke from its usual codes, mixing "high" and "low" culture, introducing a new language and new reflections, redefining the theatrical event and the need to investigate all the territories of creativity; in this panorama the sounds and the music assumed a central importance that today remain the most concrete testimony of that extremely creative experimental period.
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LP
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SOAVE 015LP
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Soave present a reissue of Bebo Baldan's Vapor Frames 86/91, originally released in 1991. The alchemist Bebo Baldan, accompanied by Steve James on violin and sarod (as well as on instruments of various geographical extractions) mixes, in a personal way, sounds from a bevy of different cultures -- from Mediterranean and Indian, to South American -- with synths, samples, and loops. The result is a boundless music that carries you, riding soft waves and bobbing between Balearic ambient, jazz, and electronic, on islands that have been quietly, yet carefully cultivated; peaceful, fascinating, and reflective -- places where time appears to dissolve. Vapor Frames 86/91 was originally released for Venetian Divergo -- a non-profit label, which after the Baldan album, also released The Wind Collector by Gigi Masin and Alessandro Monti a few months later (1991). This reissue includes two added bonus tracks from the same sessions, both at the end of each side. The result is a stunning auditory atmosphere that relaxes the spirit in the same vein as a reiki treatment.
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SOAVE 016LP
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When No Pussyfooting was released in 1973 by two great pioneers like Eno and Fripp, that first whisper of their artistic association surprised many critics and fans. Yet, that kind of minimalist ambient sonority carried out by the two appeared in the ear like something absolutely new and innovative. Although nowadays we might be more accustomed to creative operations of this type, we are still fascinated, while listening, by the still possible achievement of relevant moments of musical epiphany, however distant we might be from that first eminent combination between keyboards and guitar which concerned electronic experimentation. Something similar occurred in this new collaboration between Riccardo Sinigaglia and Maurizio Abate; two generations in comparison, whose research developments unfold in the handful of different conceptions and experiences. Their music does not own a pre-defined structure; it receives its ultimate reason from the progressive and continuous metamorphosis of sound. It's all the result of spontaneous sessions, during which a predisposition towards an active trance procedure, sustained by complementary flashes of lucidity, prevails. The dominant atmosphere is entirely oneiric, perpetually doubtful, still not linked to the passive remote unconscious: it's rather reminiscent of lucid dreams, of phosphenes, of eidetic visualizations that belong to Tibetan tradition.
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2LP
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SOAVE 013-14LP
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Electronic Modular Orchestra: from Neil Young to Stravinsky. Curiosity is the element that allowed the birth of this project. Gabriele Bombardini, Nicola Peruch, Matteo Scaioli, and Max Vicinelli are musicians who have decades of experience in all fields of music. The desire to combine seemingly distant sounds such as the use of old analog synthesizers, a pedal steel that recalls the American folk tradition, and the modular synthesis that leads back to the so-called concrete musical research, was the challenge to face. Freedom of expression, contemporary quotations, improvisation, Stravinsky, Bartok, Reich, psychedelic rock, jazz, all that is musical emotion is taken as a stimulus for this research.
"Sound is made from the same matter of dreams that, as the sun rises, evaporate and leave a feeling of uncertainty. Just as when in proximity of a secret that will not be completely solved and won't allow you to retrace the succession of emotions that brought you to it. Instead we must learn to hold on to them, cultivate them, be able to understand and recognize them. To trust them. Sound, its colour, the essence of its tone, the vibrations that it leaves in the air. None of these can be described in words: the necessity to physically listen is ineffable. We can write a melody, a rhythm, a harmonically complex structure, an arrangement... But never the colour and taste of sound. In Electronic Modular Orchestra's music you will find certain harmonies, melodies, rhythms, sounds and layerings of every kind. All of these spring from the sound that gives it life and most profound meaning. It is for this reason that listening to this work requires an intimate complicity from the listener to be able to appreciate the essence of the tale that the artists wished to create. Perceiving the 'voice' even before form and other structural and musical elements that we are accustomed to recognize. There is no use to dwell on single tracks. Everyone will find his own personal vision and the road to their own emotions. The influences of this music are numerous: precise and restless geometries, celestial shades, the metaphysical, chaos, energetic sounds, cutting sounds, unpredictability and scrape. Listen to this disk on a good sound system, so not to frustrate the musician's intent. Take the necessary time to listen, and re-listen." --Franco Ranieri
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LP
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SOAVE 012LP
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Soave present a reissue of Aeolyca, Pier Luigi Andreoni and Francesco Paladino's collaboration originally released on cassette in 1989.
Peter Sarram on the release: "Wriggling away from any clear classification, as '80s Italian new music was wont to do, yet clearly drawing on a number of traditions and procedures, Andreoni and Paladino's Aeolyca project stands on its own as it intersects the two musicians' already well-established partnership in A.T.R.O.X. and The Doubling Riders among other settings with the sounds generated by Mario Ciccioli's Aeolian sculptures. Neither aiming for the organic purity of Harry Bertoia's Sonambient recordings or the complex constructions of Mario Bertoncini's works with Aeolian harps, Aeolyca walks a line of resistance in refusing to get with any program. The music that was produced in Andreoni and Paladino's interaction with the recordings extracted by Emiliano Licastro from Ciccioli's sculptures is one that breaks the boundaries between the sound and musical sources. The work is divided between the quick pop timings of the 'Rain On The Bells', 'Sunday Clothes For Brass Bands' and 'The Peruvian Club' and the longer eponymous structured compositions that bookend the record each track characterized by a dominant sonority inspired by specific iterations of globalized musics. Ultimately, though, notwithstanding their individual structural and sound diversities, the project is indebted to the sampler, the ultimate absorber, the sound source that takes up the most musical space and the possibilities of eroding sources and styles that it imposes. Further, to indicatively attest the historical context from which it emerges, the 1980s as they came to a close, Aeolyca was originally released on cassette, that decade's foremost format, agile, immediate, economical and for a US label (Violet Glass Oracle). This is music that has digested many of the period's instinctive gestures. It exists as a satellite, incapable and unwilling to articulate antecedents and to nurture descendants. This is a unique work in Andreoni and Paladino's well-documented activity, individually, in duo, and in their eclectic collaborations with the likes of Roger Eno and Riccardo Sinigaglia. Like the Time Zones Festival from which this project got its start Aeolyca is what you find on the 'path of possible musics'."
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SOAVE 011LP
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Sold out, no repress. Soave present a reissue of Urban And Tribal Portraits, Roberto Musci and Giovanni Venosta's 1988 release. New cover art features Sven Hedkin's photograph of early 20th century Tibetan death masks.
Peter Sarram on the release: "While a number of the recordings that comprise this particular work have been (relatively) available -- through a ReR anthology that also included tracks from the other Musci/Venosta collaboration, Water Messages On Desert Sand (1987) as well as some integrated in the Music From Memory compilation, Tower Of Silence (MFM 014LP, 2016), released under Musci's name only this is indeed the first time one can listen to this fundamental work as it was meant to be heard. . . . Urban And Tribal Portraits reaffirms the idea of postmodern pastiche as a multimedia multisensory experience and sound as an ecosystem that is both aleatory and concrete, ephemeral and durable. In these binary paradoxes, a radical notion of the nature of collaboration, that is both chance induced and conversely conceptually worked out, is also established. . . . Urban And Tribal Portraits re-politicizes the notion of pastiche, engaging as it does in a kind of eco-practice, turning the process rather than the musical object into the poetic focus of the work. . . . Like much Italian experimental music from that magical decade of the '80s this is not your dad's fourth world music, with all of its ambiguous aestheticism of 'unifying' some not so well-defined primitivism of 'world ethnic styles' with the futuristic sounds of whatever 'advanced electronic techniques' were the platter du jour. In this sound the 8-bits of the E-Mu Emax is as primitive as the Jews Harp while the electronically treated Pygmy chants turn out to be as futuristic as the multi-timbral capacities of the OB-8. From the funk ostinatos of 'El Lamento De Los Ayatollah' where Venosta showcases his straight piano playing to the rarefied queer guitar arpeggios in 'Tamatave', the peaceful ripples in 'Dialogue Between A Dreamer And Others', the playfulness of 'Starfish & Kangaroos' or the post-punkish This Heat/Cabaret Voltaire aggression in 'The Fear Of A Soldier' this is destabilization as praxis, a shifting of the ground. . . . A DIY bricolage: a de-structuring of everyday sound objects towards new uses fed by local eco-situated experiences, transformative of performance and listening. Surrealist 'musicking' indeed."
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LP+CD
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SOAVE 010LP
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Soave present an official reissue of Scorie, Tiziano Popoli and Marco Dalpane's minimal wonder from 1985. Long coveted and hunted by collectors, Scorie falls among the strange and definition resistant artifacts of Italy's remarkable avant-garde music scene of the '70s and '80s. An emblem of sonic diversity rendered through electronic sound, distilling a daunting number of traditions and ideas, while sculpting its own world of creative singularity, standing apart from the rest. While a great many of Italy's avant-garde and experimental music practitioners began within the spectrums of popular music, slowly pushing into more explicitly ambitious and challenging realms as the years wore on, Tiziano Popoli and Marco Dalpane represent a change in the directional tide. Scorie is a part of movement toward, and the incorporation of, popular forms within avant-garde music which swept across the globe during the 1980s. As challenging and uncomfortable as it is seductive and inviting, Scorie weaves a world without boundary, of collision and harmony. A vision of possible futures, rendered in its present day. A melodic realm, almost entirely constructed through the use of synthesizers, with subtle interventions of electronic rhythm generators, bridging the metronomic territories explored by Terry Riley and Steve Reich and the drifting harmonics of new age, with the moodiness of new wave and the adventurous spirit of the avant-garde. Comes on color vinyl; Includes insert and CD.
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SOAVE 009LP
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Soave present a reissue of O.A.S.I.'s Il Cavaliere Azzurro, originally released in 1986. One of the many characteristics of Italian avant-garde theater, from the seventies through the eighties, was the overlap of acting with the physicality of movement -- reality with fiction and the stage with real life; it was a new poetic language for a multimedia representation. In this new language, the music composed for the stage was an active part of the performances, and the soundtrack from 1985's Il Cavaliere Azzurro is one of its most significant examples. The musical project of the working group O.A.S.I. (Paolo Modugno, Massimo Terracini, Gino Castaldo, and Ermano Ghisio Erba) blended industrial experimentation, ambient and concrete, with a strong ethnic element, both vocally and performed, then recorded and manipulated with the aid of tape recorders and samplers. This was a work that identified a historical moment of fervid experimentation and inspiration, and though intended to be played during a theatrical performance, vividly stands out without the visual accompaniment. Personnel: Paolo Modugno - Acoustic and electric guitar, sanza, bendir, tapes, sampler; Massimo Terracini - piano, sampler, tapes; Gino Castaldo - tapes, samplers; Ermanno Ghisio Erba - drums, percussions.
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SOAVE 008LP
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Soave present the first vinyl reissue of Roberto Mazza's Scoprire Le Orme, originally released on cassette in 1991. Mysterious, charming, and wavering, Scoprire Le Orme ("Discover The Footsteps") represents a unique musical experience; a kind of minimal folk with far Eastern baroque influences. The work is a living entity, yet with a calm atmosphere interweaved with tension -- the tradition here being redefined and transfigured in a very personal way with a touch of esotericism. Roberto Mazza (formerly a member of Telaio Magnetico, along with Franco Battiato, Lino "Capra" Vaccina, and Juri Camisasca) has since the early seventies devoted himself to the study of both British and Scottish traditional music, with closer attention to the Hebrides archipelago. This work, originally published only on audiotape, has been recorded in complete autonomy with Mazza himself playing the compositions and utilizing instruments such as oboe, Bardic harp, and synthesizers.
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SOAVE 006LP
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Recorded in 1980 but only issued privately in 1987, Arturo Stàlteri's ...e il pavone parlò alla Luna falls among the last artifacts of Italy's great wave of musical minimalism. Like the movement to which it belongs, rigorously resistant to categorizations and definition, this overlooked marvel sculpts a startling singularity. A radical and democratic vision in sound, blending elements of new age, the avant-garde, and prog with Western and Indian classical musics. Highly talented pianist Arturo Stàlteri debuted in 1974 with Pierrot Lunaire, one of the most original and innovative groups of the Italian progressive scene. After the dissolution of the band he began an inspirational solo career with the prog opus Andrè Sulla Luna (1979); the following year a two-month trip to India left an important impression on him and inspired ...e il pavone parlò alla Luna, which stands as Stàlteri's true masterwork. A complex and ambitious hybrid, built around organ and piano, with each passage struggling for creative autonomy and dislodging themselves from the whole, yet remaining as accessible as they are challenging, to all those willing to heed the call. Despite its repetitive rhythms and cyclical tones, bound to American minimalism, ...e il pavone parlò alla Luna's complex relationships and breadth of territory locate it as a distinctly European work, a wondrous late breath, and a seminal entry in Italy's remarkable canon of avant-garde and minimalist music. A rippling oddity, not quite like anything else, reissued here on vinyl for the first time.
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SOAVE 007LP
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Giovanni Venosta's 1984 debut album, released when the artist was only 23, is a committed, subversive parody of minimalism, and a truly original work. This is its first reissue. Recorded in Venosta's living room with a four-track Tascam, this album reveals the young pianist's profound need for expression, born out of his relationship with the sound of Terry Riley, Michael Nyman, Brian Eno, Steve Reich, Penguin Café Orchestra, and Dollar Brand. The contribution of Roberto Musci results in more esoteric and mystical side of the record and marks the beginning of a long and fruitful collaboration in which the arrangements of Venosta blend perfectly with the electronics and sound treatments by Musci. Forty-seven minutes of inspired Italian minimalism.
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SOAVE 005LP
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Soave present the first vinyl reissue of Riccardo Sinigaglia's Riflessi, originally released in 1986. Riccardo Sinigaglia, along with Gabin Dabiré and Walter Maioli, was a part of Futuro Antico -- one of the most important collaborations to emerge from the 1970s and '80s Italian avant-garde. The project, whose name literally translates to "ancient future", joined traditional sounds and instrumental from around world, with electronic music -- the sonic past, present, and future as one. Recorded shortly after the collective's most prolific period and released in 1986, while more singular and more idiosyncratic, Sinigaglia's Riflessi caries these very concerns at its core. Built from field recordings, collaged samples, synthesis, and unique instrumentations, and shifting from hypnotic rhythm to radical and displacing structures, Riflessi establishes a remarkable link between ancient and non-western musics and efforts emerging from studios like Groupe de Recherches Musicales. A work of staggering rhythm, texture, and beauty, Riflessi builds a world with almost no parallel -- imbuing electronic music with touch, tactility, and humanity, while sacrificing none of its challenges and intellectual heights. Rattling sonorous wonder, emerging for the first time on any format since its original pressing, before us is a historic moment -- a lost piece of the puzzle of the wondrous Italian avant-garde.
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