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Label & Cat.Number: Ferns Recordings ferns_rhizome_04
Release Year: 2007
Note: fascinating dronescape derived from field recordings made on a mountain in Italy, using a 3 m cross & bell sounds; nice full-colour mini-gatefold cover / ed. of 500
Price (incl. 19% VAT): €6.50
More InfoFaszinierende Veröffentlichung von Klang-Morphologiker GIANCARLO TONIUTTI, der auf dem Gipfel eines Berges in Italien (Monte le Zuffine) ein drei Meter hohes Kreuz fand (mit einer kleinen Glocke) - Klänge dieser Objekte und die psychogeographische atmosphärische "Aura" des Ortes dienten als Grundlage für diesen wunderbar mysteriös wummernden one-tracker, der zischelnde & leiernde Blasen wirft....
this is really CRYPTIC Ambience...
"This work could be seen as a process of sonic magnification. A couple of years ago I made a field-recording on a mountain top. It was meant to go on a project I had in mind. I needed a pure field-recording, almost silent. On this mountain I also found a small bell and decided to vaguely use it to generate a faint tonal presence. But in the end the recording was spoiled by the recorded presence of many tiny natural noises.
The project as process: Recently I took this recording back to life, and decided to mainly work with the sounds coming from the short bell performances, trying to generate the whole sound morphology from a mesostructural derived process, through analogic treatments of these acoustic fragments.
The epiphenomenal world: Somehow intended as a magnifying process of the internal structural features of the sounds from a bell and its mechanics, the work took advantage also of the fact that all these sounds were strongly embodied in the acoustic micro-activity of the natural environment. The selected sources were basically dirty, from interferences of insects and other small sounds. While magnifying and isolating the bell sounds, it was impossible (and not meant in the end) to remove these accidental environmental noises surrounding each sound particle. Thus, as they became part of the timbral quality of each single sound, they also shaped the evolutionary process of the work.
This work could be seen as a process of inflow moistening (title in Hopi language) " [label info / credits]
"No one will ever accuse Giancarlo Toniutti of releasing too much music into the world. It has literally been ten years since Toniutti has released any recordings outside of a very rare
compilation track here or there. That said, Toniutti is an undeniably intriguing sound artist, who has deeply immersed himself into obscure forms of ethnomusicology and linguistic study, all the while keeping a finely tuned ear to the habits of vangarde composition. His
earliest recordings emerged out of the Italian power electronics community of the early '80s whose most well known practitioner was
Maurizio Bianchi. Like Bianchi, Toniutti put out a handful of recordings on the seminal British noise label Broken Flag. While
bracing, complex, and adventurous in its crunched tape manipulations and sinister synthesis, Toniutti's work stood apart from the signature Broken Flag arc of transgressive noise, due to Toniutti's intellectual rigor. It was this rigor that brought Toniutti to pursue
his collaborations with Andrew Chalk and Conrad Schnitzler, and it was probably this rigor that caused the prolonged length between
recordings over the past decade.
So, the 20 minute composition that Toniutti produced for Ferns impressive series of 3" discs has been granted a Hopi Indian title based on an ancient song dealing with cunnilingus and bedbugs. I'm sure that Giancarlo has a very particular reason for placing such a text alongside this warbling set of mutated field recordings; but as of yet, it remains something of a mystery. This composition does enjoy a hermetic quality, in spite of Toniutti's explanation that he derived all of the sounds from a field recording he made in Italy involving a mountain, a 10ft tall cross, a metal pylon, and a temple bell. Out of that environment and those objects, Toniutti arrives at a record that might appear somewhat meditative at first, with its constant wash of low frequencies; but upon deeper investigations into the piece, he reveals queasy, off-kilter tonalities which gently vibrate against each other, bristling with quiet textures. His is a pretty unique sound, somewhat like the early electronic work of Xenakis with the diminutive sensibilities of early Bernhard Gunter. Highly recommended!" [Aquarius]
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