Giulio Stermieri is a pianist, keyboardist and composer. His musical journey brings together his love for the African-American piano tradition and the practice of improvisation, as well as his research into timbre on his instrument and with electronics. His work has always investigated the possible determinations of material on form, pursuing the utopia of instant composition, with the desire to honor the present time as a privileged reality within which communication between artist and recipient takes place. These intimate beliefs are the basis of Fort Da, an album released in October 2023 by Maple Death Records, in which Stermieri explores the Farfisa organ, letting the relationship with the machine suggest new expressive trajectories, also through the practice of sampling. From the contemplation of simple sound stratifications to an excited polyrhythmic trance, melodic fragments appear and disappear, letting the symbolic value of repetition shine through in this game.
The Necks are one of the great cult bands of Australia. Chris Abrahams (piano), Tony Buck (drums), and Lloyd Swanton (bass) conjure a chemistry together that defies description in orthodox terms. Featuring lengthy pieces which slowly unravel in the most mesmerising fashion, frequently underpinned by an insistent deep groove, the eighteen albums by The Necks stand up to re-listening time and time again. The deceptive simplicity of their music throws forth new charms on each hearing. Not entirely avant-garde, nor minimalist, nor ambient, nor jazz, the music of The Necks is possibly unique in the world today.
VOLUME, Spazio Teatro 89 and SoloMacello proudly present two concerts to cause a spiritual euphoria and to tour the world in a handful of musicians. Senyawa return from Indonesia, ever more incredible, with a new concert that continues their exploration of the common ground between the traditional music of the island of Java and heavy metal. Senyawa are almost impossible to describe – but live they find their most complete meaning: the symbiosis takes place between the singing and vocal techniques of Rully Shabara and the self-built instruments of Wukir Suryadi, a true hacker of objects, who in his hands become expressive and original musical instruments. Before Senyawa’s set, we are very happy to have invited the duo from Romagna to Milan, who release their new album on November 17th and come to play it for us immediately: it’s called Aves Raras and it moves fluidly between tribal and ritual music, guitar riffs , synthesizers, transfigured voices and pastoral passages. One of the brightest and most vivid things you’ve heard in recent months, if you ask us.
L’ascolto profondo è una pratica creata da Pauline Oliveros, compositrice, improvvisatrice e performer americana queer, che esplora la differenza tra la natura involontaria dell’udito e la natura volontaria e selettiva dell’ascolto.
Pauline Oliveros nel suo libro Deep listening, la pratica sonora di una compositricedefinisce il deep listening come l’ “imparare a espandere la percezione dei suoni per includere l’intero continuum spazio-temporale del suono – includendone il più possibile la vastità e la complessità”. In pratica, il Deep Listening comprende esercizi di propriocezione corporea, ascolto guidato dei suoni della vita quotidiana e improvvisazione.
In particolare in questo workshop verrà esplorato l’ascolto come strumento poetico per allargare i confini del reale. Qual’è la differenza tra un suono ricordato, un suono sognato e uno appena ascoltato? L’azione collettiva sarà rivolta a pratiche di abbattimento di queste distinzioni percettive.
A partire dal Deep Listening di Pauline Oliveros i partecipanti verranno guidati alla riscoperta delle potenzialità immaginative dell’ascolto, accogliendo il rischio che i suoni interiori possano rivelare nuovi paesaggi inesplorati.
Il workshop sarà strutturato in 2 parti distinte.
PRIMA PARTE – h. 11 – 13
Durante la prima parte del workshop ci occuperemo del paesaggio sonoro attraverso esercizi rivolti alla stimolazione della nostra attenzione. Quando finisce il suono? Quando inizia la memoria? Queste ed altre domande saranno il punto di partenza per meditazioni sonore ed esplorazioni dello spazio, attraverso la voce e il corpo. L’ascolto ci permetterà di entrare a contatto con la natura profonda dei suoni che ci circondano, creando uno stato di permeabilità acustica tra i partecipanti e il paesaggio urbano.
SECONDA PARTE – h. 14.30 – 17
La seconda parte del workshop invece indagherà il rapporto tra l’ascolto interiore e la scrittura creativa, in particolare quella poetica. Guidate dalla consapevolezza che anche le parole e i pensieri sono in primo luogo suoni, prenderemo ispirazione da poeti e mistici di varie epoche e tradizioni per elaborare una metodologia compositiva personale. A partire da esempi illustri, come il poeta Osip Mandelstam e le sue immagini sonore o il mistico Richard Tolle e le sue metafore musicali, proveremo a scrivere a partire da delle stimolazioni inedite.
Il giorno prima Sabato 18 nel laboratorio di SpazioB**K alle 11, SpazioB**K e VOLUME proporranno l’incontro a più voci con Diana Lola Posani, Azzurra D’Agostino, Franca Rey e Francesco Bergamo per parlare del libro di Pauline Oliveros e “espandere l’ascolto” verso territori di ricerca affini.
Per la prima volta VOLUM E varca la soglia di Santeria Social Club, abbandonando per qualche ora l’avamposto di Via Paladini per un doppio concerto.
JOSHUA ABRAMS
Joshua Abrams si è formato artisticamente nell’occhio del ciclone che era la Chicago degli anni ’90: dal jazz al rock, passando per coraggiosi movimenti sperimentali, ha lasciato il proprio segno in una costellazione di progetti. Ha diviso studio e palchi con Hamid Drake, Bonnie “Prince” Billy, Fred Anderso, The Roots, ha composto colonne sonore e dal 2010 ha cominciato a girare America ed Europa con formazioni in continua evoluzione e rivoluzione. I suoi set sono l’imprevedibile: strumenti tradizionali ed elettrici che costruiscono lunghe suite fra psichedelia, minimalismo e krautrock. Il suo ultimo disco pubblicato in Europa da Glitterbeat a nome Joshua Abrams and Natural Information Society si intitola Simultonality ed è stato inserito nella stragrande maggioranza delle classifiche di fine anno del 2017. Ascoltare per credere
MAN FOREVER
Man Forever è John Colpitts, e John Colpitts è Kid Millions, batterista e fondatore degli Oneida. Con questo alias dà vita a performance al limite del credibile, usando la batteria come unico strumento. A metà fra compositore e leggenda del DIY, John ha pubblicato nel 2018 Play What They Want, che annovera fra gli ospiti Laurie Anderson e gli Yo La Tengo al completo.
DELETE RECORDINGS Showcase
– Luigi Pugliano feat. Marco Milanesio (Live)
– Fabrizio Modonese Palumbo (Live)
Delete Recordings è un’etichetta indipendente con sede a Torino nata con l’intento di diffondere e sostenere produzioni di musica elettronica, ambient e drone attraverso la pubblicazione di dischi in formato Cassetta + Digitale.
Quest’oggi presenta due artisti con due miniset rigorosamente dal vivo, tutte le cassette disponibili e qualche sorpresa.
L’ingresso è ovviamente gratuito, i concerti iniziamo alle 17.00 precise.
I SabaSaba sono un trio composto da Tommaso Bonfilio (nastri, drum machine, organo), Andrea Marini (elettronica, flauto, chitarra, campane) e Gabriele Maggiorotto (batteria, percussioni, effetti), vengono da Torino e hanno un disco in uscita su Maple Death Records.
http://www.mapledeathrecords.com/releases/mdr024/
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Creeping out of Torino’s longest dark winter nights, isolated and shrouded in mystery just like the cities’ deep connection to black magic, here comes SabaSaba, the newest addition to the Maple Death family. Western esotericism converting pagan mystic’s one by one!
The trio of Tommaso Bonfilio (tape loops, drum machine, organ), Andrea Marini (electronics, flute, guitar, bells) and Gabriele Maggiorotto (drums, percussion, effects) is a rare beast, night phantoms embarking on a digital dust adventure set in a world punctuated by Ballard’s dreams and William Gibson’s visions. SabaSaba’s self-titled debut is an industrial cinematic dub scorcher that is not afraid to mix dark isolationist off-kilter machines, tape recorders and the earthy beat of primordial dancehall dub productions (King Tubby, Horace Andy). Album opener Bells sets the tone right away, a pulsating horror tempo and Crowley cadence symbolically uniting the Disques OCORA catalogue and the ambient droning of Nurse With Wound. Magma is a witch march advancing slowly into Kosmische lands, Drops is an opium induced hyper dub ballad where African Head Charge’s sun is eclipsed by Coil’s black moon. Peradam inspired by René Daumal’s ‘Mount Analogue’ ascends and weaves ideally upstream across the Po river while Red Nights sees Italian Occult legends and co-conspirators Father Murphy spreading their cathartic chanting. Eden – Olympia is the perfect closer, a calming distant tribe of percolating bells awakening the spirit.
This is not wishy-washy psychedelic music, this is the real deal, a voyage into mind alteration through sound, a chariot proceeding East, West and everywhere in between, hands turning digital knobs, feet raising dust and grain while the heart beats analog to the pulse of Mother Earth.
Presentazione del disco “Learn to Love Solitude” del duo The Verge of Ruin (Stefano de Ponti e Shari Delorian), pubblicato dall’etichetta Setola di Maiale.
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The Verge of Ruin is a research in sound and poetry that started in December 2015 by Stefano de Ponti and Shari DeLorian.
The image evoked by Moniker suggests a risky and stimulating position in which the duo from Milan is looking at and responding to the world.
A view that lives in the present and at the same time is strongly connected with several guides and experiences out of the past.
Constantly looking for new vanishing points and responding to creative oppressions which are caused by contemporary collapses of media.
The framework referred to is the one drawn by concrete music and acousmatic art of the XIX century, in particular with references to Cage, Nono, Schaeffer, Xenakis and Scelsi to reach electroacoustic and avant garde electronic-alike shores.
The approach in composition is highly free and deprived from dogmatisms: from radical experi- mentation to sound research and sound production, meant as rough matter to be modelled and equipped with a sense. A pre-de ned conceptual development through graphic scores and the writing and organization of materials coming from other artistic languages, like visual arts and literature.
The accumulation of practices and the registration of sounds, the meeting between studio and eld recordings, from cutting-up to sampling, the use of classic instruments (strings, horns, chords and drums), voices, additive electronic devices and granular and modal synthesis softwares: all these elements give birth to a style that dissociates itself from standard classi cations and labeling. The collaboration with other artists and musicians is crucial. The need for dialogue and exchange among different people and and therefore languages are vital.
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