“José Gallardo launches through Pueblo Nuevo his latest album ‘Humores‘ (pn137). Unlike his previous ‘Sinfonía para un hombre solo… en su casa‘ (pn107, 2016), which exhibits the realization of field recordings as a guiding thread, ‘Humores‘ makes reference to the moods or temperaments according to the classification of Hippocrates, considered the father of medicine. It is, thus, a kind of suite that is composed of emotional representations instead of dances.
The humoral theory, in force from Greek Antiquity until after the Renaissance, comprised four temperaments: Choleric, Phlegmatic, Melancholic and Sanguine. Each one of them was associated with an organ and with a secretion of the body (yellow bile, phlegm, black bile, and blood, respectively) and health would depend on the balance between these elements. The word ‘humor’ comes from the Latin ‘humore’ which means liquid or fluid.
As a means of opening, Gallardo adds a fifth state, that of ‘Ansiedad’ (Anxiety), where music tries to connect itself with the future from the present. This is the only track on which we hear an instrument played in a traditional way or without being deconstructed, the Saz of the Middle East, and from this material is apparently also extracted to create adjacent sounds.
Predominant in this album are rough textures, carefully agitated sounds obtained by microsampling – often treated in a granular way, and cacophonous conglomerations, almost always in counterpoint with their opposites, as in the game of resonances and punctual sounds of ‘Melancolía’ (Melancholy). The last track, ‘Sanguíneo Pasional’ (Sanguine Passional), is divided into two very clear moments, the second of them based on a calm drone that brings peace or, better, balance, to close ‘healthily’ this interesting set of music.”
(Río de Janeiro, Brasil. Noviembre / November 2018)
Anastatsia Vronski is a versatile experimental musician from Perm, Russia. Since years she has been creating an impressive and quite diverse body of work. Many of her tracks can be classified as “drone “or “noise”, but they always have a specific, often intriguing qualities. Above all, she’s not an artist who will do the same twice, and maybe that’s why some of her pieces are sometimes self-published isolately. Since we thought many of them deserved more exposure, we decided to make a selection of such works in a compilation album : Estrangements, that will be published in two volumes. The first volume gathers tracks composed in 2013 & 2014 (selected with the artist’s approval) that seem to share some kind of minimalist mood, although they are very diverse. For each of them, Vronski has written a few words about the specific methodologies and ideas (see below) involved in the composition. But this doesn’t make her music less mysterious. Each track seems inhabited by a mysterious and poetic spirit whose intrinsic qualities will appear to attentive listeners even without reading anything. The 2nd volume will be published in 2019
Federico Dal Pozzo is an Italian sound artist , electroacoustic composer and musician. His works are based upon concrete objects and the transfiguration and perception of the sound and audio- spatialization . He works with Max/Msp. He does compositions for dance and theatre companies , audio-Installations and concerts.
Today we are proud to publish his latest piece Untitled_PaHaD , a mysterious and subtly progressive composition, where where liquid textures swirl like a delicate swarm of otherwordly voices. In this new work, once again Dal Pozzo’s use of digital tools is very fluid and organic, completely at the service of a higly personal musical vision.Credits:
Music my Federico Dal Pozzo
Photo by Marco Cianci
Thanx to Lorenzo Abbatoir, Giada Piraccini, Marco Cianci
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