Drone Records
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Format: CD
Label & Cat.Number: Sub Rosa SR359
Release Year: 2013
Note: interesting Swiss/Italian composer working in the field of sound installations & performances, thematically based on perception & consiouscness; working with field recordings from urban places but also nature locations; by adding electronic sounds, he creates non-usual atmospheric aural landscapes... this is his debut CD with three long tracks, all basic material has been recorded in San Francisco
Price (incl. 19% VAT): €13.00

More Info

"Luca Forcucci is a binational Swiss and Italian composer and artist. His work observes the perceptive properties/relations of sound and space (and vice versa) through sound installations, visuals, compositions and performances. In order to explore the field of possibilities for sound in a context of music and art as experience, the works converge with dance, digital performance, poetry, architecture and neuroscience. In this context, he is interested by perceptionand consciousness.
His compositions have spanned through the years from electronic music, which was produced by Al Comet from The Young Gods, to field recordings collected around the world in urban contexts like Sao Paulo, Shanghai, San Francisco and natural ones like the Amazon forest or the Swiss Alps to name a few." [label info]


"Sub Rosa is busy presenting new and young composers and here have a release by Luca Forcucci. "His work observes the perception of sound through an architectural approach in the relation of sound and space". He studied in Berlin, Paris (at GRM) and the Brain Mind Institute in Switzerland. I am not sure if he has other releases available, but this is the first time I hear his music. The three pieces on this release are inspired by the fog horns he heard when he landed in San Francisco in Spring 2011. Obviously he recorded those and uses them as source material on these pieces. On the title piece he gets help from Goo Le Gooster on turntables, scratch, cuts and echoplex and in 'Winds' it's the cello of Michael Kott. When I visited San Francisco, a long time ago, I didn't hear fog horns, but I can imagine what they would sound like. the long sustaining and slowly shifting sounds of the horns over big distance, would already be enough to be music by itself, but Forcucci's treatments to the material enhance the mood further. Quite dark and desolate - like recorded from below the sea surface where metallic objects softly touch upon the microphone - in 'Winds' and hazy, fog like, not entirely clear for all to see in in 'L'Ecume Des Jours'. The title piece is the place in which happens most. Here the fog horns form a web behind a collage of field recordings - people talking and walking, bird calls and a bit of scratch like sounds. Oddly enough (but why?), I thought this was the least interesting piece of these three. Maybe the whole marriage of field recordings with a bit scratching just didn't work well; maybe it gave me an uneasy sense of being forcefully 'hip' to some extend? I don't know. But the other two pieces are really good." [FdW/Vital Weekly]