Your cart (0 item)

TONIUTTI, MASSIMO - Cava XI.XI.86

Format: CD Label & Cat.Number: Ferns Recordings stem_05 Release Year: 2019 Note: \'CD reissue of a cassette released in 1987 edited by Massimo Toniutti. An unique, beautiful and mysterious work in which sounds are produced somewhere, under the earth, in a cave or cellar. Organic, out of time. Remastered from the original tapes, including two unreleased tracks created from records of the same period.\' - wonderful \"floating-concrete\" ambient noise, subtle and low fi, almost all based on sounds from metallic and other objects.. . ed. of 300 copies Price (incl. 19% VAT): €13.00 More Info https://fernsrecordings.bandcamp.com/album/cava-xi-xi-86 CD reissue of a cassette released in 1987 edited by Massimo Toniutti. An unique, beautiful and mysterious work in which sounds are produced somewhere, under the earth, in a cave or cellar. Organic, out of time. Remastered from the original tapes, including two unreleased tracks created from records of the same period. Cava xi.xi.86 was a concept album split into two parts, side 1 formerly called gravi tracks 1-4 and side 2 le ghiaie tracks 5-7. Mixed at the stanza delle uova (1987) using a (4+4) multi-track system. Two more compositions have been added to this reissue: Track 8 (cube version of gravi) and track 9 (with a little help from l\'orchestra dei becchi di Fuji), both of them using \'86/\'87 archive sessions, re-worked and digitally mixed at my ground floor studio (2019). Re-mastered from the original tapes. All material recorded from November 1986 to April 1987 at the laboratory and its surroundings. sound sources : clothes horse, metal ladders, pipes, welded wire mesh, railing, metal cans, occluders, muffles, clamps, springs, mandrels, drill bits, wrenches, hacksaws and unidentified objects; processed field recordings, via sistiana\'s hammers ad venetian blinds, and trains; hi & lo-fi speakers and microphones, handheld cassette players and recorders. Thanks to Ron Lessard since 1988 and Sébastien for his hospitality. ####################################### \"These refurbished sounds originally recorded in-between 1986-87 are from Italian experimenter Massimo Toniutti (we covered his Il Museo Selvatico here last year). His use of metallic objects and everyday instruments, fused in mysterious ways, is one of multilayered distinctions. A special thanks to Ferns and to other curatorial imprints who preserve these sounds for first-time observers. Though you’d never know it, this came out in that ‘growing-pains’ era when glitzy acts like Sigue Sigue Sputnik ruled certain airwaves, and you’d catch faded latter-day Eurythmics on your car radio as well as Deborah Harry gone solo and so many other novelties of the time. This is far from a response to that sonic Siberia, and likely was far too gray for the neon street life. Instead, Cava xi.xi.86 serves a vintage more akin to what The Legendary Pink Dots or Controlled Bleeding were doing at the same time, just a little more introspective in terms of construction. At times this sounds like a windstorm passing through a kitchen pantry, and at others its more a series of aural sculpture – brittle man-made contortions. There are passive moments too, and here the quiet contemplation the relative freeform nature finds its way of exorcising its own ghosts. Cling, klang the echoes slam and achromatize in gestures that are definitive but never inferring a beat structure, instead more similar to opening and closing the doors of a horse stable. If you listened to this and heard ‘chimes’ while sitting close to a vast body of water you may not be too far off either. In other words Toniutti (working vertically) has created a lubricious sound that is bespoke in the most underground of sensibilities. The new re-worked tracks have a methodical atmosphere, like a nightmare involving a rickety rollercoaster. At some point herein the artist did, in fact, incorporate hammers and venetian blinds but instead of something kinetic you might expect from Einstürzende Neubauten here the listener is much closer to the inversion of surfaces and gadgets being deployed. At more than one juncture in the closer, cava recovery, an open circuit seems to be present as well as a nice balance of drone – and this is couched in such a way as to hear not only echoes from objects being struck, but this inert feeling as if you are lurking around the space. As the listener surveils the temperature of shifting tonalities things quiet down to a pivotal numbing murmur.\" [Toneshift]