Erik Baron et d-zAkord - 58' CD released in 2021 catalog number 027 C

 

                                        

Notes on 58'

THE ORIGINS

58' was composed in 2010 on the occasion of the tenth anniversary of d-zAkord. I wanted a very minimalist piece with few sound events and long silences. At that time we presented t'Drone(s)Scape', a sound/living installation lasting 3 hours. The public was invited to sit or lie down in the center of the sonic maelstrom for a multicast travel. It is in this context that 58' was imagined.

LA MONTE YOUNG

It is also the study of La Monte Young's 'Trio' (written in 1958) that inspired me certain parts of this piece in which there are a few winks !

                                     

D-ZAKORD

For 58' the set is 5 basses and 7 electric guitars.

                                            

BOW AND EBOW

The piece is played entirely with Ebow (electronic bow) as well as with real bows only at two moments (from 0' to 3'40 and from 24'00 to 26'20).

                                                     


MICRO TONE

For this piece, the orchestra is divided into 2 groups: the first is normally tuned to 440 hz

the second is tuned a quarter tone higher in order to create intervals, chords and harmonics in resonance with the first group.These new sounds would be impossible with a normal tuning of the whole orchestra.

                                     


SHEET MUSIC AND CHRONO

Although unconventional, the 58' score is extremely precise. The musicians follow a graphic score, with time passing and indications of their interventions.The orchestra is directed by a chronometer, it is visible by all the musicians and by the public.Visual and aesthetic, this chronometer is projected in large format (3mx3m) on two or three walls, it adds its share of mystery to the soundscapes. The public can thus evaluate the real time which passes (or which does not pass), so much the notion of felt time is modified by the rhythm very slow drones.All musicians clearly see the seconds ticking by effortlessly and without any risk of getting lost in the room. One of the advantages of writing by freezing time precisely is not to risk play in concert for too long or too quickly, especially with music that makes you lose track of time.The only drawback of this device is that any notion of temporal improvisation is impossible once the stopwatch is started!

Matteo Uggeri & Mourning Dove - Does the Moon not dream CD released in 2021 DNN 026 C

Ruggero Tajè & Ahmed Ben Dhiab - Live Concerts ( 1990-2006) CD released in 2021 DNN 025 C

 

Ruggero Tajè and Ahmed Ben Dhiab is a duo with a consolidated musical relationship. Ruggero is one of the masters of Italian electronics who also has a solid jazz background (he was in the past an effective jazz drummer) whilst Ahmed is a 360 degrees artist (poet, painter, singer). In the past they released together a cassette (Conversation musicale Orient-Occident) and a CD (Passion) both with the voice of Ahmed on the musical tapestries of Ruggero. Here things become more complex, we may speak of  a kind of ethnic-jazz with electronics.  First of all we can admire one the artistic domains of Ahmed given that the front of the cover reproduces one of his paintings. Then we have to say that the CD contains a bunch of  live recordings during concerts held in the period 1990 to 2006 in France, Spain and Mexico. The artists involved in this multi-formed  touring group are percussionist Carlo Rizzo who collaborated between others with Michael Riessler, Benat Achiary and

Valentin Clastrier, oud player and singer Nabil Khalidi from Morocco, accordionist Raul Barbosa from Argentina and well known French saxophonist Michel Doneda. Track one performs murmuring vocals by Ahmed with sinuous sax by Michel Doneda over an uniform electronic background. Track two is also relaxed with electronic percussions  Arab singing by Ahmed and nice solos by Michael Doneda. Track three is longer and gives a larger evidence to Ruggero and his electronic treated guitars with the voice of Ahmed and the sax in a background position. Track four is more percussive and dominated by sax. Track five starts as a classic Arab song with the Oud of Nabil Khalidi in evidence but afterwards the accordion of Raoul Barbosa comes in.....Track six, seven , eight and ten are based on efficient percussions by Carlo Rizzo that sometimes empathize the singing of Ahmed and somewhere else dialogate with the electronic variations by Ruggero. Track nine for Oud and Voice gives an idea of a classical Arab song. Finally track eleven is an  electronic mishmash dominated by the sax of Michel Doneda.

Thomas Barriére - Habituons nous a la pluie CD released in 2021 DNN 024 C

 

Thomas Barrière is a guitarist, able to play a large number of instruments. When he was 22 years old he was very influenced by "Step Across the Border" of Fred Frith. He was active, as a musician, composing for dance, theatre and artisic installations. In 2014 appeared his first dolo album  "Primaire", that was followed by "Habituons Nous À La Pluie" in 2021 for the Label Alma De Nieto .

Barrière  recorded the  CD mostly alone, even if many of the sounds featured do not primarily come  from his creativity. As you may read on the back of the cover , tehere are a lot of samples featured. Among others trumpet players of central Africa, a gipsy duo, parts of a bad TV-Show from Canada, Jean Gabin and Sunny Boy Williamson, a storyteller,  Trompetenspieler aus Zentralafrika, ein Zigeunerduo, Teile einer schlechten kanadischen TV-Show, Jean Gabin und Sonny Boy Williamson, ein Märchenerzähler, ein Pygmäenstamm und Baumwollpflücker zu hören sind, und viele, viele mehr, Sprachfetzten, Geräusche und diversen Klang beinhaltend. Die restlichen Sounds hat dann wohl Barrière erzeugt, vermittels diverser Instrumente, die aber nicht detailliert aufgeführt werden.

Ein recht eigenartiges Gemenge an Klang, Geräusch, Sprache und Gesang hat Barrière zusammen gebastelt, welches klar in der RIO-Tradition steht, durchaus verwandt im Geiste mit Produktionen von Fred Frith, aber mit mehr Gewicht auf Erzeugnissen der menschlichen Stimme, und mit einer gelegentlich folkig-weltmusikalischen Ausrichtung. Allerlei Geplinge von Zupfinstrumenten, dezentes Tastenwabern, elektronische Gewebe und perkussive Einlagen werden mit diversen instrumentalen Samples und vor allem recht viel Gesang und Rezitation vermengt, mitunter effektverfremdet. Das Ergebnis ist eine bunte Sammlung an folkig-weltmusikalichen Songkonstrukten, schräg-zupfenden Ethnogemengen, freieren Klangcollagen, seltsamen perkussiv-sakralen Elaboraten und bizarr-elektronischen Stimmflickenteppichen.

"Habituons Nous À La Pluie" ist ein durchaus gelungenes Album, das wohl vor allem RIO-Adepten zusagen sollte, die sich solcherlei Musik versehen mit exotischen Stimmbeiträgen und klappernd-perkussiv-weltmusikalischer Ausrichtung vorstellen können. Das Ganze ist sehr farbig konstruiert, dicht vermengt, arbeitet sich druckvoll produziert voran, klingt schön frisch und weißt einen großen Eigenständigkeitsfaktor auf. Eine seltsame, bisweilen faszinierende, mitunter auch etwas schwerer verdauliche Klangreise wird auf jeden Fall geboten. Aufgeschlossenen Schräghörern sei die Scheibe sehr empfohlen.

Wertung: 12/15

Achim Breiling (Babyblaue-Seiten.de) 30/08/2021

Extrema Ratio - A dangerous method CD released in 2021 catalog number DNN 023 C

 

In 1989, John Zorn, in the liner notes of Spy Vs Spy (Elektra), a cover album of Ornette Coleman compositions, thanked (among many) the bands Napalm Death, Blind Idiot God, and The Accused, before finishing with "Fucking hardcore rules. Smash racism." Zorn's music comes slamming back to mind with A Dangerous Method from Extrema Ratio, because the timing is right for improvised music to return to hardcore. "Naked Convulsions" opens the disc with a sample of the writer William Burroughs explaining, "Nothing is true, everything is permitted; everything is permitted because nothing is true." These prophetic words may never have been more accurate given the first casualty in the presidency of Donald Trump was truth.

The quartet of vocalist XlaidoX, baritone saxophonist Alessandro Cartolari, drummer Diego Rosso, and Valdjau Kathportha on electronics reanimate Zorn's bands Naked City and Painkiller with the primal screams of vocalists Yamatsuka Eye and Mike Patton of The Dillinger Escape Plan. That opening track blasts screeching baritone against off-kilter beats and megaphone declarations to wake up. Throughout, the thickness of electronic pulse, baritone saxophone and bass drum kits, acts as heavy artillery. When the quartet switches back and forth between the thrashing speed violence and the quietude of strained whispers on "I 8 Indifference," they work a juxtaposition to great effect. "Asthenic Rite" works an oxymoronic loud ambient post-apocalyptic path with the assistance of Luca Benedetto's trumpet and Fritz Welch's spoken words. By the time we get to the hardcore pulse of "Revolution" with words from Mao Tse-tung calling for a class war, it's clear we're not in Kansas anymore.

Mark Corroto (All About Jazz) 19/05/2021

 

Heads Will Roll

Extrema Ratio are a four-piece coming out of Turin, Italy, here with their debut album A Dangerous Method (ALMA DE NIETO DNN023C). At first gazoon this one seemed very far from subtle – a pretty grotesque noise assault made with sax, drums, electronics and an unhinged screaming voice, and one senses the band might be trying to convey some political ideas, as evidenced by the graphical images and slogans on the artwork here, which are heavily influenced by Communist propaganda stylings. There’s also a song called ‘Revolution’ based on a text by Mao Tse-Tung. However, I think Extrema Ratio are also concerned with advancing an agenda of personal liberation, as shown not just by the rather formless and heaving music which lurches around like a crazed dinosaur, but also in the use of texts by Pasolini and samples from William Burroughs which open the album (something of a gaffe, if truth be told).In embracing the precepts of free improvisation, the band bring in Fritz Welch (formerly of PSI) to add vocals on one track, plus the trumpeter Luca Benedetto who has landed in with this mob from a jazz context. But the aim is to mix up free improv with punk aesthetics by way of political bands like Crass, and abrasive noise with many industrial elements, with the unhinged electronic sounds of Valdjau Katportha coming to the fore. Vocalist .xlaidox. might be the focal point for most of these energies and influences; he looks fearsome in his photograph here, yawping at top of his lungs through a megaphone (!) and equipped with bulging muscular arms that would raise eyebrows at a Mr Universe tournament; .xlaidox. has evidently been active within the counter-culture for over 25 years now, producing graphic designs and fanzines (hopefully full of dissident and agitational content) besides making records and producing other bands in the hardcore punk area. Plus there’s the disjointed sax blasts of Alessandro Cartolari, who rasps like a bad-tempered shark with bent fins, and the maniacal drumming of Diego Rosso…

While the foursome are capable of rocking out like the best of any post-Black Flag band to have appeared in the pages of Maximum Rock N Roll, Extrema Ratio are also capable of some insanely powerful dynamics, stopping and starting their mighty warhorse with the skill of a cavalry veteran, indicating they are not simply an artless three-chord punk band and have a lot more content they wish to convey, through their ugly and broken music, and their confrontational lyrics. They also have a manifesto which has to be read to be believed – it’s not simply the high-flown and grandiose claims they make with their slogans, but the abstruse language in which they say it, packed with fanciful adjectives and multi-syllabic nouns, constantly stressing how “unorthodox” they are and completely different to everything else. Perhaps they see themselves as inheritors to The Futurists. At all events, this record with its over-the-top cover art of axe slicing head in twixt is starting to grow on me, and when you get past the sickening crunch of its more violent moments, you will discover some truly twisted and highly inventive out-there art music emerging, breeding like strange worms underground. From 24th March 2021.

Ed Pinsent (The Sound Projector) 6/12/2021

Extrema Ratio lives up to their name. The name relates to the maximum or minimum value of a function in maths. The music here is both maximum and minimum. Sometimes at the same time. Normally there is a rule for a member of a band to stand out and the rest plays around them, but here no one appears to be in charge. Everyone is pulling at once. Sometimes in different directions. .xlaidox.’s vocals. Alessandro Cartolari sax, Valdjau Katportha’s electronics and Diego Rosso’s drums combine to create something pleasurable but also massively unpleasant. And we’re grateful for them. A William S. Burroughs sample “Apocalypse. Consider an apocalyptic state. Nothing is true. Everything is permitted. Everything is permitted because nothing is true” kicks off their debut album ‘A Dangerous Method’. Whilst you are making sense of it, huge horns, dense electronics, sparse percussion and biting vocals kick in. It’s disorienting but compelling. ‘Naked Convultions’ is a great introduction to the album. Everything to follow is hidden in plain sight. ‘Lust of Death’ is more of the same, but everything has been ramped up. The horns sound like a wounded beast. The electronics wouldn’t feel out of place on a HyperDub album. In short. It’s wonderful. Throughout ‘A Dangerous Method’ the music is a mixture of shronk, punk/DIY, bass music and spoken word diatribes. It has wonderful throb to it. The saxophone is devastating. During ‘Lust of Death’ there are sections when Cartolari is just blowing for all he’s worth. Katportha’s electronics are pure filth, Rosso’s drums are being slammed and .xlaidox.’s vocals are distorted beyond comprehension. It’s brilliant. None of it really belongs together but it works incredibly well. It sounds like four random strangers met and just started playing. It feels pure and without an objective. Other than playing. However, there are moments of tender beauty. ‘Theorem’ is filled with sensuous sax that billows from the speaks. It is warm, friendly and, most importantly, counterbalances the electronic static blips and guttural, and primal, screams. ‘A Dangerous Method’ is a fascinating album that yields more with each listen. At times it feels like the howls of something in pain, and it probably is in all fairness, but at other times it is comforting with pangs of pathos. This isn’t an album to get lost in but to try and escape from, because once it starts you are trapped in its labyrinthine maze with some hulking mythic creature on your trail.

Nick Roseblade (Vital Weekly 1278)

Massimo Giuntoli - Tender Buttons CD released 2020 label Alma De Nieto catalog number DNN 022 C

BIO 

Massimo Giuntoli. Composer, performer, urban designer, multimedia artist . Openly inspired by masters such as Frank Zappa, Aaron Copland and the so -called "school of Canterbury," Massimo Giuntoli has developed his own musical language characterized by an uninhibited fluctuation between academy and a very heterogeneous range of extremely refined languages . The use of electronic technologies is frequent, often reinvented out of the most diverse species . With Pianoformance , based on Disklavier piano features , he stages the relationship between man and machine through an unpredictable piano recital . Morfeo al Ninfeo , (1994 ) is an itinerant performance built in the caves and in the halls of a sixteenth -century nymphaeum , where water games - as the Wunderkammer spirit of the monument - are reinterpreted from a contemporary and technological point of view . Choreographic living chess games follow with ‘Torre del Bernabò ’ ……then the suite ‘Musici in complotto’, in which four performers (Ferdinando Faraò, Fabio Martini, Takumi Fukushima and Giuntoli himself) surround the audience in an old cloister . Furthermore ‘Freezy’, where dance theater and music join into an ensemble of statues, which traces an improbable as surreal history of Western sculpture. In 1995 Robert Wyatt , invited by Radio Popolare (Milan) to broadcast a cycle of programs regarding his musical preferences, includes in his selection the track "Frrr!!!" from Massimo Giuntoli's Giraffe album .In 2003 he founded WIZARP Urban Visions , focused on concept and design for permanent installations in public space and elements of urban design : water -sound - light architectures, dynamic sculptures and musical gardens . From 2010 , commissioned by Regione Valle d'Aosta , he has realized several different editions of a sons -et -lumières set on Roman Theatre of Aosta , seen by an audience of 30.000 people. In 2011 he took part in 'Neoludica', side event of the 54th International Art Exhibition Venice Biennale , where he presented the interactive animations 'You can’t stop ' and 'Gun Faith', along with vector graphics artwork 'L'ego dell'artista '.he presented PIE GLUE! , a musical project developed on beat generation poems , along with percussionist Clara Zucchetti . During the same year he founded HOBO duo, a kind of «itinerant music chamber» with the jazz violinist Eloisa Manera and himself on harmonium . Seven years later HOBO’s CD «Edmund» was finally released . In 2014 he founded HARPSY DUET , with Swiss pianist and composer Esther Flückiger . An harpsychord duo aimed to explore new expressive forms for this instrument . With ODD SONGS project – a non -stop sequence of no - words -songs , nonsense lyrics and sound neologisms – he goes on in his research about the relationship between words and music . He cooperates both as pianist and composer with Altock Chamber Quartet founded by Emilio Galante … …as well as with Ferdinando Farao’s Artchipel Orchestra , thus performing along with beloved musicians like Chris Cutler , Keith & Julie Tippett , and Phil Miller . Piano Store , a composition for six pianos , was commissioned by Yamaha Music Europe, then performed for three days within Cremona Pianoforte exhibition . English writer Jonathan Coe asks him to arrange a selection of his own compositions , then performed at Collisioni Festival , with an ensemble involving Coe himself . From 2013 he creates ALTERAZIONI , a concert series dedicated to «innovative music», taking place within an ancient villa located in Lainate (Milan) . In 2016 he presents HOBO PLAYS ROBERT WYATT at Mantua Festivaletteratura , in co -operation with journalist Alessandro Achilli . In the same year Buch Records releases PIANO WARPS , a piano -solo CD album containing Giuntoli’s compositions . He founds U -GENE duo, with contemporary classical guitarist Silvia Cignoli . Both in public libraries and bookshops, he presents PIANO POETRY , a solo performance based on poems by Walt Whitman , Emily Dickinson , Gertrude Stein , aside from Giuntoli’s and other unpublished authors ’ poems . He creates VOX POPULI project , a workshop which gives birth to surreal vocal ensembles pretty accessible to everybody - In 2017 he is invited again by Mantua Festivaletteratura , where he presents Singing American Poetry , scheduled for three days at Palazzo Te, along with multi -instrumentalist Clara Zucchetti .F . I . T . – Found In Translation is a new solo -performance (soon a CD album) with voice, harmonium and keyboard , based on invented languages spoken by people living in the imaginary land of Molkaya . With ANY VOICE , Massimo Giuntoli is collecting "vocal identities" from every latitude of the Planet . The digital reworking of the vocal co -operations will give birth to a large multi -cultural virtual choir, the WORLD WIDE PEOPLE CHOIR . Its main characters will be the so -called "foreigners" living in Italy, representing the highest possible number of nationalities and origins .  In 2019 he founds a new label, Molkaya Rec, who's first releasing is CD album "Edmund", by HOBO (with Eloisa Manera), after more than forty gigs with this acoustic duo. He starts the project PhotoScore: a collection in progress of musical videos which includes two different types: one based on sequences of photos and painting images, the other aimed to create virtual sons-et-lumières. He writes music for a new HOBO project - immediately live performing - conceived for "plugged" instruments: fivestrings electric violin and electric piano. During the Italian three months lockdown he writes and produces a monographic project based on a selection of Gertrude Stein's poems, from her book Tender Buttons. The related CD album has been released in co-operation with ADN Rec/ReR Italia. In September 2020 he is once again invited from Mantua's Festivaletteratura, where he presents Tender Buttons project, on an itinerant stage dedicated to poetry performing.

http://adnrecords.com/reviews-massimo-giuntoli-tender-buttons/

Francesco Ziello - Nine Hundred Fifty Seven CD released in 2020 catalog number DNN 021 C

 

I received a  release by Francesco Ziello, who "composed and recorded at Avidi Lumi's workspace in 2019". From his website, I understand he is a multi-instrumentalist and electro-acoustic composer, and he studied piano, composition and electronic music. "My projects summarizes the path made until now and brings together issues, research methods and moods related to the contemporary and experimental music, keeping at the same time a strong connection with tonal language." I can as such see that this album is a showcase of what he does, as he moves, musically, all over the place. Much of this is in the quieter realm of music, with piano and guitar being played, moodily and atmospheric, but upon closer inspection, there quite a few nasty sounds, drones, or even noisy interludes. "The hidden plot that runs through the album is based on the story of Jeffrey Dahmer and is an attempt to look into social isolation and development of one's unreal inner world", which I must admit I could not detect from the music, which means it is either hidden quite a lot or music itself has very little meaning (a topic for another day). Throughout the thirteen tracks on this album remain brief and to the point, from rather ordinary dramatic sound pieces to intenser and moodier sound pieces. I enjoyed them all, as Ziello has quite a lot of variation to offer in his music and the balance between finely tuned musical pieces and more abstract soundscapes made this a pleasant trip; and, perhaps, that is a poor choice of words with such a big hidden plot.

Frans de Waard  (Vital Weekly  1287)

Giulio Aldinucci e Matteo Uggeri - Bureau CD released in 2020 catalog number DNN 020

 

An emotionally absorbing, vibrant and sensitive personal voyage

Matteo Uggeri is one multifaceted and emblematic sound/noise designer artist from Italy—also one founder member of the chamber post-rock collective Sparkle in Grey. His usual signature can be described as composite ambient sceneries where sonic textures meet story-telling minimal sketches and expanding downtempo vibes.

In this new release he collaborates with Giulio Aldinucci, who is a seducing and creative electroacoustic soundscaper whose production (in solo or in collaboration, notably with Francesco Giannico) is largely recognized in the DIY indie community with a fancy for mesmeric, chilled-out then discreet electronic ambient music.

Bureau is an emotionally absorbing, vibrant and sensitive personal voyage through a vast array of emotions, tone colors, flexible tones and kinetic electronic impulses. This is mostly one electronic and ambient-centered atmospheric album with a stylistic inclination for hypnotic organic textures (as in the ravishing “Fire Dome”) and minimal-tinged chilled out soundscapes with more abstract sounds and airy clicks and cuts (in “Inceneritore” “Ghiaccio”), even flirting with glitch-esque vibes (“Ghiaccio”) and hauntology (in the eerie and weirdly “Zoo”).

An easily recommended listening and catchy electronic effort to consider if you are into post-minimal techno, IDM and syncretic ambient waves. Somewhere between Christian Fennesz, Microstoria, Oval, Hecq, and Beequeen.

Philippe Blache (Igloo Magazine) August 23, 2020

Somewhere in the back of my mind, I had already registered the return of ADN Records, erstwhile a cassette label with some great releases (New 7th music, Amok, Pascal Comelade, Bourbonese Qualk etc) in the 80s. They were called (not by me) the Italian version of Recommended Records. They have come back, already some time ago and picked up on a generation of 'younger' musicians. Matteo Uggeri took hundreds of photos of his workplace in a '70s building and that became the inspiration for this work with Giulio Aldinucci. They both use field recordings, but Aldinucci melts the re-processed field recordings into drones and Uggeri into beats. These beats should not be understood as a bunch of big 4/4 rhythms, but minimalist drum patterns of a dark nature. It fits the ditto dark drones as produced by Aldinucci, that are sometimes pretty straight forward sustaining clouds of sound, but most of the time also add a small melodic touch to them. I have no idea where these field recordings were made, only recognizing the fanfare on the street in 'Chinese New Year' and some wind/rain/water sounds in other pieces, or vast empty parking space. Sometimes the beats produced by Uggeri seem almost absent, such as in 'Inceneritore', but maybe they are even more spaced out here. I think it is quite a clever move to work with field recordings in the way these gentlemen do; just treating them into big chunks of abstract ambient music has been done quite enough, but adding minimalist rhythms and re-shaping field recordings into lovely chunks of melodic ambient is also perhaps not unique, but it is not done to death yet (at least, not that I know) and as such, this is a great album.

Frans De Waard (Vital Weekly n. 1246)

Ruggero Tajè - Antologica 1976-1999 CD released 2018 label Alma De Nieto catalog number DNN 011 C

 

Ruggero Tajè is one of the Italian electronic pioneers of the seventies. At Milan Conservatory he was pupil of Maestro Angelo Paccagnini (one of the leaders of Italian contemporary electronic music, even if less known than Berio and Maderna) during the same period of Riccardo Sinigaglia and Gaetano Liguori. 

                                                  (Angelo Paccagnini)

After his studies he chose guitar as main instrument. He didn’t release his music till nowadays, apart some collaborations with Ahmed Ben Dhiab (a Tunisian painter, poet and singer) that were released on CD in the nineties. 

“Antologica“ shows to the listener the evolution of his music on a wide range of climates, from “Kosmische Kuriere” style, de-structured jazz, improvisation, Tibetan ritual music to computer music, and it may be seen as an accurate survey of the formative path of an undervalued artist who has a relevant role in Italian electronic music scene.

Proiezioni Verticali based on the sound of a toy organ remembers some climates of German “Kosmische Kuriere”. Nommo is an interplay between a treated guitar, metallophones and marimbas, a sort of de-structured jazz. Non c’è piu mare per Moby Dick transforms the relaxing whale sounds in the agony of the underwater world using concrete sounds, noises and percussions. Bahia is computer music, a sort of circular repetitive track with a rhythmic base. Omaggio a Miles for midi guitar and synth is an atmospheric piece with a “false trumpet” dancing on it dedicated to Miles Davis. Omaggio a Miles II proposes a contracted version of the former track. Improvviso dinamico is a long track of contemporary electronics with a slow flowing sound with pressing percussive interferences. Analogica is music for a ballet based on sampled synthesized water sounds that flow directly through the head of the listeners. A Raoul elaborates electronically the sounds of the accordion of Raul Barbosa and brings them to collide with extreme sampled string sounds.Download is a patchwork of sounds and materials coming from the net creating a climate of organized confusion. Connessioni is a long suite based on the sounds of a cello that reveals once more the capacities acquired by Ruggero during these 23 years of experimentation. This work reproduces a wide range of climates and it may be seen as an accurate survey of the formative path of an artist who has a relevant role in Italian electronic music scene.

La 1919 - False Memory Syndrome LP catalog number Artisti del 900 AD900 001

 

La 1919 is the duo of two talented musicians, the guitarist Luciano Margorani and the keyboard,bass player Piero Chianura. This is their first record as a trio with the participation of Federico Zenoni on drums. This is also the first record of the re-birth of the label ADN in 2014. The music has its roots in the rock in opposition movement, not forgetting  King Crimson and the most inspired experimetalists of the so called prog movement. The cover drawings are by Piero Chianura and the record is 180 grms.

VV.AA. - Ode to Marco Veronesi CD released in 2014 catalog number AgDuNu 001

 

This compilation was made in honour of our friend and ADN member Marco Veronesi, who died in 2013 after a long Illness. The Musicians included in this compilation are all old friends of ADN label. The music styles are different and cover all the sparkling curiosities od ADN members. Featuring Masami Akita aka Merzbow appearing on the first cassette release of the label, Tasaday, T.A.C. and Sigillum S eminent members of Italian Post-Industrialism. DDAA & La STPO exponents o French oblique music, RLW musician representing Neue Deutsche Welle, Christina Kubisch and Riccardo Sinigaglia masters of Italian contemporary electronics and the Rock in Opposition of La1919 and Francesco Paldino (Doubling Riders).