Source: Setola di Maiale.
NOISE FROM THE NEIGHBOURS
CARLO ACTIS DATO / ENZO ROCCO
Carlo Actis Dato and Enzo Rocco are two great musicians who playing together for many years, with several recordings and concerts on five continents. Their artistic understanding is vibrant and telepathic, the language is strict but often humorous. In this recording they celebrate 20 years of activity of the duo! Recorded live by Andrea Grandi for Associazione Alice Nella Città (Castelleone) in February 2016. Both musicians are also on other albums by Setola di Maiale, in different ensembles.
JEFF PLATZ / BLAISE SIWULA / DMITRY ISHENKO / DAVE MILLER
Creative combo from New York, lead by Jeff Platz with other fantastic musicians. The album was recorded in April 2015 at Wombat Studio, Brooklyn and engineered, mixed and mastered by Ross Bonadonna.
YOKO MIURA / GIANNI MIMMO
Great music based on Departure, a composition by Yoko Miura (Tokyo, Japan). They are both very active musicians, especially Gianni Mimmo (Pavia, Italy) who is always around for concerts and also, runs the excellent Amirani Records, one of the best Italian label focused on improvisation and new music, with an international catalogue. This album was recorded at Mu.Rec Studio (ex Barigozzi) in Milan, on November 9th, 2015. They are also on other albums on Setola di Maiale, in different ensembles.
Some of the systems art of the late 1960s and early 1970s—for example, Sol LeWitt’s modular lattice sculptures or Mel Bochner’s number grids—embodied a certain regularity of form. A systematic regularity, one might say. A basic element might be repeated at constant intervals or an input sequence subjected to a defined operation. By contrast, some other systemic artworks—integral serialist compositions, for example–produced surfaces of unpredictable, irregularly occurring events from an underlying set of rules. In either case the systems generating the artworks featured a certain autonomy requiring little or no ongoing oversight from the artist. Chvad SB’s Phenomenalism Cartesian Doubt and Bomb #20, a long piece for modular synthesizer, leverages carefully crafted feedback loops into a soundwork that essentially plays itself.
With its collection of fragmentary musical gestures, Phenomenalism sounds something like the pointillist serial works of the mid-20th century—it’s possible to hear in it a refigured echo of Milton Babbitt’s compositions for the RCA Mark II synthesizer of the early 1960s, for example. Like those compositions, Phenomenalism aggregates individual pitch sequences and timbres into a kaleidoscopic sound of playful unpredictability. Also like those compositions, the pleasure of the surface sounds requires no knowledge of the systems underlying them.