Lecture via Spotify Lecture via YouTube
Accéder à la vidéo YouTube

Chargement du lecteur...

Vous scrobblez depuis Spotify ?

Connectez votre compte Spotify à votre compte Last.fm et scrobblez tout ce que vous écoutez, depuis n'importe quelle application Spotify sur n'importe quel appareil ou plateforme.

Connexion à Spotify

Ignorer

Une nouvelle version de Last.fm est disponible. Pour que tout fonctionne correctement, veuillez rafraîchir le site.

Wiki

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.

Modifier ce wiki

Pas envie de voir des annonces ? Abonnez-vous dès aujourd'hui

API Calls