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COLUCCINO, OSVALDO - Parallelo

Format: CD
Label & Cat.Number: Unfathomless U30
Release Year: 2015
Note: two shrouded field recording pieces by this Italian Contemporary Classic Music composer, captured in North West Italy at abandoned ruins from an old monastery from the 17th century.. "there is dripping of water, objects falling onto the floor, and everything reverberates through this giant space, or maybe even various spaces of varying sizes..." [Vital Weekly] lim. 200, numbered, 300gr. full colour satin paper cover with art-card
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"These abandoned ruins of the seventeenth century are located along a path that I often walk on, uphill, in silence, alone. Not exactly on the path but hidden, deeper into the woods, that place lies parallel to the path that leads to the top of a hill. Even if I do not go (necessarily, every time) inside, that place beyond attracts like a magnet, makes its presence felt, launching its resonance up to the place of my steps. That secondary place is not seen from the primary path, but it is there. And it pulsates with life, neither new nor old life.
Probably in a short time those ruins of an ancient monastery, located in Domodossola, North West Italy, will be demolished. However, that place will remain, even after its erasure.
Parallelo, a work composed between 2007 and 2009, is also an attempt to detect and make feel the coexistence of vital fields ; places that exist in parallel but which, thanks to non-ordinary ways, occasionally may touch each other." [Osvaldo Coluccino, May 2014]



"There is an approach to field recordings that I like to call 'the empty room' approach:
one sets up a pair of microphones in an empty space and simply catches the emptiness of
the space in a recording, by using a lot of 'gain', the space becomes alive. Osvaldo
Coluccino has had two releases before (see Vital Weekly 748 and 823) of improvised music,
playing various acoustic objects and acousmatic music. Here he uses recordings he made
in the ruins of a 17th century monastery in Domodossola, North-West Italy. The work was
already composed between 2007 and 2009, and for whatever reason wasn't released until now.
Two pieces here of exactly the same length and the starting point for each piece seems
to me the sort of drone sound one gets from the empty room. That is not yet the complete
thing as Coluccino also has a bunch of other recordings to use here: there is dripping
of water, objects falling onto the floor, and everything reverberates through this giant
space, or maybe even various spaces of varying sizes. Set up one microphone in one room
and let the action take place in the room next to it: you get the idea of ancient reverb
techniques before they got stuck in binary boxes. There are also lots of rumbling sounds,
lots of vague sounds around this place, sometimes leading up to a somewhat messy sound
picture. Coluccino uses the collage form, in which he places various bits one after
another, sometimes with short silent gaps in between. It's hard to say if he applies any
(computer-) processing to his music; sometimes one is inclined to think he does, but it
might also be very likely that he isn't. Throughout this is a soft release, I think;
I am not sure why Coluccino choose to do that. It all makes up, however, a mighty fine
album of a highly varied bunch of field recordings, all trapped inside two lengthy
pieces." [FdW/Vital Weekly]