Gigi Masin - Lontano (2001)

01) Intro

02) Valerie Loop

03) When Julia Smiles

04) Miren Maitea

05) Coltrane

06) Krill

07) Lovloop

08) Hiris

09) Sunshine Breakfast

10) Parallel Lines

11) Lontano

12) Waterblue

13) Watamu

14) The Jean Plan

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The music of this CD came from the period 1990-1992, with two titles coming back from the eighties.
Masin’s poetry turn around the expanded sense of time of his compositions. The music emerges from silence and to silence return. The pieces are suspended moments in the stream of time, shots of a personal sounding journey that show itself in a clear form. All the tracks seems coming from a “limbo”, a no man’s land of the eternal time, with a magical, and imaginative, character.
The first element is the “imagination”: the imagination of the author, who tends to photograph and short-circuit, in the repetition, the sound particles, and the imagination of the listener, discreetly pervaded by the music. The slow minimalist sequences, the looping and lyrical melodies, the obstinate electronic cadences, are the sounding signs of Masin. Signs of the simplicity and, at the same time, the depth of sound.
Gigi Masin: keyboards, piano, guitar, tapes; Marco Barel: tenor sax; Jim Martyniack: spoken words.

Salvatore Linguido - Themes (2003)

01) Theme 01

02) Theme 02

03) Theme 03

04) Theme 04

05) Theme 05

06) Theme 06

07) Theme 07

08) Theme 08

09) Theme 09

10) Theme 10

11) Theme 11

12) Theme 12

13) Theme 13

14) Theme 14

15) Theme 15

16) Theme 16

17) Theme 17

18) Theme 18

19) Theme 19

20) Theme 20

21) Theme 21

22) Theme 22

23) Theme 23

24) Theme 24

25) Theme 25

26) Theme 26

27) Theme 27

28) Theme 28

29) Theme 29

30) Theme 30

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Themes is a classic exercise of variations on a theme. Basic the idea, essential, almost primal, the elaboration.
The Linguido's challenge (as in the first CD "West Mantra") is that of fascination by mean of "habit". The rhythms and throbbings of percussive sounds became part of the sound environment. The cadenced proceeding finds its aesthetical way in the fast exposition (the thirty tracks covers a range from 30 seconds to two minutes). It clarify a mechanism, an idea, a reflection.
The drum sound, so daily familiar to us, becomes an ideal mean to represent the need of "purity" that's the force behind the author's work with sound. Themes is a journey on personal liberation.
It unrolls in the obstinate construction of little sound cells (almost anachronistic, because made with machines, "forced" by the man's hand) and realize itself in the making of a revealed world, an iperrealistic soundtrack for our daily life.

Salvatore Linguido - West Mantra (2001)

01) West Mantra (n. 1)

02) West Mantra (n. 2)

03) West Mantra (n. 3)

04) West Mantra (n. 4)

05) Incontro (n. 2)

06) Distanze (n. 1)

07) Distanze (n. 2)

08) Studi (n. 1)

09) Studi (n. 4)

10) Studi (n. 5)

11) Studi (n. 8)

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Salvatore Linguido is from Genoa. The music in this CD is for programmed piano.
A West Mantra, synthesis and technological echo of eternal music. A work of research that we like to call “iper-serialist", where the approach is not the “construction inside a scheme ", but the more subversive one of the re-construction of many schemes, born from the minimal changes of a structure. A music where there is an enormous, sometimes obsessive, attention to the single sound and the juxtaposition of sounds. The schematic and “cold” element make this music a kind of book of exercises, spiritual and “audible”. It’s a new, religious, ecology of the ear, where the sound generate itself continuously avoiding the common places of the “music for piano”, and trusting great attention from the the listener.
West Mantra reflect itself in the rigour of the unpolluted.

Luca Miti - La Dedica Catodica (Loop Version) 1980/1988

1) La Dedica Catodica (Loop Version) 3'06''

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"Antonello che guarda la televisione,
la sera.
Tanti altri.
La potenza del tubo catodico.
The sinking of the Titanic.
(Sempre un po' eroico. Struggente)".

Il breve scritto che precede (datato "Roma, 15, 16 e 17/9/1986"), poco (?) più di un appunto personale, meglio, intimo, racchiude nella sua interezza il senso della "dedica", per cui mi limiterò ad una breve puntualizzazione tecnica.
Quanto si ascolta nel disco è la parte sonora di una video-installazione (v. schema di massima) per (non) video e tape loop.
Non so quanto queso lavoro possa perdere, privato della sua parte visiva; certo, quello che conta, qui, non sono tanto le vibrazioni della musica (che peraltro ci sono), quanto ciò che è racchiuso nello scritto di cui sopra.
Così come il fatto di essere "dedica", al di là della dedica esplicita, nel suo stesso nome, con tutto ciò che così c'è, allora, di implicito. Per tornare, ancora, allo "scritto".
Che altro?
"Tanti altri".
"E lasci perdere chi non ama le grandi altezze".

Luca Miti


Nota del 2010

Incredibile, inaspettato ("struggente", come ho scritto tutti quegli anni fa) tornare a quella volta, a quello scritto lontano, ad una composizione quasi dimenticata, ad un "Long Playing" di vinile; tempi davvero "altri", ora, che però mi danno il segno di come la strada cercata fosse praticamente sempre la stessa - una direzione (in)seguita da sempre (forse da non raggiungere), non so se oggi più chiara di allora, certo oggi senza alcun dubbio; "e lasci perdere...".

Luca Miti - Mansions (2001)

1) Musica Per "E Non Mi Resta Che Tornare Solo"

2) Mens Conclusa + Tre Variazioni Su "Mens Conclusa"

3) Omaggio A Saverio Ungheri (excerpt)

4) Giocattoli

5) II Progetto Per La Regolamentazione E l’Ordinamento Dei Flussi     Estetici Per La Comunità Di Topolò 2001 (excerpt)

6-7) Musica Per "Immaginate La Notte" (versione Morlacchi)

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Luca Miti in his works tends to put himself in relation to the sound, searching for the interaction between sound and environment, and – more important – between the capability to produce a sound and to receive it. Some “theatre” music – raw excerpts of sparse, subtle electronic sounds (for “E non mi resta che tornare solo”). The audio component of the “sound installation” – “Mens Conclusa” – a loop with scratching and clicking sounds and mutant voices. The electronic interaction between two performers (Miti himself and his long time friend Francesco Michi) in the long “Giocattoli” (“Toys”) – a sparse sound ambient due to the use of small, low-fi live electronics and “anachronistic” electronic sounds. The sound flux (again from Michi and Miti) that de-sign the time-space of specific place, in “II° Progetto per la regolamentazione e l’ordinamento dei flussi estetici per la comunità di Topolò 2001”. And then, to close, the soundtrack for another theatrical piece; “Immaginate la notte”, modeled on Massenet and pregnant with a lyrical atmosphere that finally flows in a tonal ending for accordion; an amusing counterpart for a work that well represent, even if in a fragmented way, the sounding universe of the author.

Luca Miti - 4 oder 5 Hässliche (Klavier) Stücke (2002)

1) 4 oder 5 Hässliche (Klavier) Stücke

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The chronicle, divided between neo-dada and "fluxus", of some life-scenes. Miti works for the deconsecration of the artist's role, and guide us thru the "delicate" representation of a domestic and personal art, near both to the artist and the listener.
The four (or five) pieces of the title (compositions of two friends Otfried Rautenbach and Matthias Maas and Miti itself), performed by Anna Guidi and Luca Miti (piano, sax and live electronics) are mixed with the joyous "interferences" of Alessandro and Alba Bruno and unexpected events .
A "little" work, at the same time playful and serious, so extremely near to everyday life.