Sunday, June 30, 2013

Free Download Silvia Cignoli

Silvia Cignoli
Secondary Colours Inspire Me More Than Primary One

30:14 min.
  • streaming download MP3 download OGG VORBIS 01. [03:11] ...Che Move Il Sole E Le Altre Stelle (S. Fontanelli)
  • streaming download MP3 download OGG VORBIS 02. [05:01] Fuoco Pallido (F. Zago)
  • streaming download MP3 download OGG VORBIS 03. [06:29] Nightly (Night Fragments) (A. Tremolada)
  • streaming download MP3 download OGG VORBIS 04. [11:43] Il Trovatore (J. K. Mertz)
  download mp3 release + images
(downloaded 376 times from our server)


Settima realise per AlchEmistica! La nostra piccola netlabel sta poco a poco raccogliendo nuovi consensi e collaborazioni. E' la volta di Silvia Cignoli, giovane chitarrista classica votata alla musica contemporanea. Il suo “disco” per AlchEmistica “secondary colours inspire me more than primary ones” , titolo che riflette il suo interesse per la pittura e per le arti figurative. Silvia riesce in questa realise a unire tra loro due repertori diversi e apparentemente inconciliabili, quello classico espresso dal brano "Il Trovatore" di J. K. Mertz e quello contemporaneo composto dai tre brani di Simone Fontanelli, Francesco Zago e Andrea Tremolada, che AlchEmistica ha il piacere e l'onore di presentare in anteprima assoluta grazie alla liberatoria concessa dagli autori e dall'interprete in via assolutamente esclusiva nei confronti della S.I.A.E. Un gesto di grande generosità e di grande impegno artistico: “secondary colours inspire me more than primary ones” ci ricorda a ogni nota che la musica, quella suonata con passione, intelligenza e creatività non ha bisogno di essere divisa in generi. Il resto è solo merce

Free Download Achim Wollscheid

Achim Wollscheid

Artist: Achim Wollscheid
Track: Live at Fourth Annual Activating the Medium festival 2001, San Francisco Museum of Modern Art
Album: 23five Live Archive
Track length: 20'34
Format: MP3 128kbps
Recorded by: Aaron Ximm, Mastered by: Scot Jenerik

Saturday, June 29, 2013

Mark Applebaum: The mad scientist of music

Mark Applebaum (born 1967 in Chicago, Illinois) is an American composer and associate professor of music composition and theory at Stanford University. He received his PhD in music composition from the University of California at San Diego where he studied with Brian Ferneyhough, Joji Yuasa, Rand Steiger, and Roger Reynolds. Prior to Stanford, Applebaum taught at UCSD, Mississippi State University, and Carleton College. He has received commissions from Betty Freeman, the Merce Cunningham Dance Company, the Fromm Foundation, the Paul Dresher Ensemble, the Vienna Modern Festival, Antwerp’s Champ D’Action, Festival ADEvantgarde in Munich, Zeitgeist, MANUFACTURE (Tokyo), the St. Lawrence String Quartet, the Jerome Foundation, and the American Composers Forum


  • 1996 "Mousetrap Music" [Innova]
  • 1999 The Janus ReMixes [Innova]
  • 1999 "Sonic Circuits VII" [Innova]
  • 2002 "The Apple Doesn't Fall Far from the Tree" [Innova]
  • 2003 "Cornucopia" [Capstone]
  • 2003 "Mark Applebaum: Intellectual Property" [Innova]
  • 2003 "Catfish" [Tzadik]
  • 2004 "Oni Buchanan: Solo Piano" [Velvet Ear Records]
  • 2004 "Martian Anthropology" [Innova]
  • 2004 "Disciplines" [Innova]
  • 2005 "56 1/2 ft." [Innova]
  • 2005 "The Bible Without God" [Innova]
  • 2006 "Asylum" [Innova]
  • 2006 "[re]" [Everglade]
  • 2008 "Sock Monkey" [Innova]
  • 2008 "Escapement" [Everglade]
  • 2010 "The Metaphysics of Notation" [Innova]

Thursday, June 27, 2013

Dario Sanfillippo

My musical research is focused on the exploration of real-time feedback systems in performances and sound installations. Concepts like Self-dis/organization, Chaos and Emergence are central and they mirror my interest in implementing dynamical, unpredictable and evolving systems, where the synergy between elements results in a holistic whole generating non-conventional sound/form synthesis, organic sonic systems which will keep their identities while never producing the same pattern or structure, where complexity comes from the interaction between simple elements. In my performance, improvisation has a major role and it is meant, from a systemic point of view, as a mechanism to establish an interdependency between the performer and the system, a condition where the performance follows nonlinear developments and comes from the co-operation between these two entities. In sound installations, instead, these systems will express their own aesthetics and autonomous character.

Dario Sanfilippo was born in Agrigento, Italy, in 1983.

He is a freelance composer, performer and sound artist whose research is focused on the study and exploration of complex dynamical feedback systems for non-conventional sound synthesis, improvised human-machine interaction performances, and autonomous sound installations.

His works and researches have been presented in international festivals and contemporary music events such as AudioArt Festival, CurvaMinore Festival, Acoustic Fields Festival, AudioVisiva Festival, Quiet Cue concert series, Live!iXem Festival, as well as Universities like Naples’ L’Orientale, Bangor University, Queen Mary University of London; they have been selected for international conferences like International Computer Music Conference 2012, Sound and Music Computing 2011, Digital Music Research Network 2011, Colloquium of Musical Informatics 2010 and 2012, INTER/actions Symposium 2012, and they have been published for record labels such as Creative Sources, Die Schachtel and Idroscalo.

Among other achievements, in 2005, his work “Chitarra Acustica Improvvisamente Stravolta” was selected for Live!iXem2005 from a board made up of Phill Niblock, Xavier Querél, Jeremy Bernstein and Domenico Sciajno; in 2007, “Pasto Nudo”, a collaboration with singer Costanza Paternò was finalist in the italian National Art Award; and in 2012, his research paper “Towards a Typology of Feedback Systems”, co-written with Andrea Valle, was the Best Paper Award winner at the International Computer Music Conference.

In the course of the years, he has collaborated with artists such as Tim Hodgkinson, Thomas Lehn, Cat Hope, Peter Kutin, Alfredo D’Amato, Andrea Valle, Fabrizio Elvetico, SEC_, Chris Galarreta.

He graduated with honours in Music and New Technologies at the Conservatory of Trapani, and he is nowadays attending the post-degree course in Electronic Music at the Conservatory of Naples, in the class of Agostino Di Scipio.

LIES (distance/incidence) 1.0 is a human-machine interaction improvised performance implementing complex dynamical systems based on analog and digital audio feedback networks. The digital network consists of three main transformation units with processes such as frequency shifting, shelving EQ, nonlinear distortion, reverb and comb filtering where feedback coefficients are below the self-oscillating threshold, and where each unit has a different sensitivity to the intensity and spectral profile of input signals. The analog feedback network consists of microphones and loudspeakers. When enough amplification is provided, self-oscillation occurs and the digital network enters an operating state, and the two interdependent and interacting networks act as a single sound generator. No randomness or automated processes are implemented in the system, yet dynamical and unpredictable behaviours will be exhibited, where sound affects itself and autonomously evolves through time. The performer interacts with the system through the microphones by varying the distance from the loudspeakers and the angle of incidence with which they capture sounds, thus altering the relation the system has to itself, and exploring the anti/resonances of a 3D environment which is constantly mediating the whole process.

Postcards From Italy: Naples – Dario Sanfilippo

Posted On: February 18, 2013
Posted In: , , ,

Dario Sanfilippo is a freelance composer, performer and sound artist whose research is focused on the study and exploration of complex dynamical feedback systems for non-conventional sound synthesis, improvised human-machine interaction performances, and autonomous sound installations…
Your work is articulated through different projects, your solo project LIES, and the collaborations |. with Andrea Valle, IVVN, with Gandolfo Pagano, Antonio Secchio and Andrea Valle and Enterico with Gandolfo Pagano and Tim Hodgkins. Could you briefly introduce all these projects for me starting with LIES which you describe as a “human-machine interaction improvised performance implementing complex dynamical systems based on analogue and digital audio feedback networks.” You state that, “No randomness or automated processes are implemented in the system, yet dynamical and unpredictable behaviours will be exhibited, where sound affects itself and autonomously evolves through time.” Could you elaborate for me on the way you interact with the system? It would be great if you could talk me through your live excerpt from Padua for instance.
LIES is the acronym for Live Interaction in Emergent Sound and the project (in its embryonal state) dates back to 2006, when I started experimenting with digital feedback. It was indeed surprising for me how very few components in a feedback loop might have very interesting and articulated sonic outcomes, possibly not related at all to what the digital processes used were designed for, and exhibiting the capability of changing in an unpredictable way through time, even though no event scheduler or such like was involved. Somehow, these systems looked “alive”, and the digital processes turned from being about transformations into being about generators of radically new sonic events capable of shaping themselves. I thought that that was a domain to be investigated, so I focused my interest heavily on feedback systems. Indeed, during the same period, I started experimenting with circuit-bending too, a practice which can be strictly feedback-related.
One of the first times I had heard of Andrea Valle was at the Live!iXem Festival in Palermo in 2007, where he presented a nice live coding performance together with the visuals of Ursula Scherrer. Afterwards, we got to know each other through the internet, and we finally met in person at the Conservatory of Trapani, where I was doing my Bachelor in Electronic Music, as he taught a class in my course that year. We then got to know each other better by sharing our experiences, and thanks to a common interest in feedback, we had the idea of cross-coupling our machines, namely his Rumentarium and my digital feedback system, which resulted in the |. project. Andrea is now a good friend of mine, and our collaboration has extended beyond the performance/compositional side to writing papers for conferences and journals.

My friend Donatella asked me for a contribution to the Quadrato Nomade project, an initiative where artists are provided with a small box within which they realize their work. As I'm quite fond of feedback in the last years, I bought 2 cheap megaphones to turn them into 2 basic battery-operated circular circuits to be placed in the box. The result is a simple system with 2 interacting feedback loops (output of one going into the input of the other and vice versa) whose behavior can be influenced by using the box cover (or hands, or body) to change the resonance characteristics of the "micro-environment". Namely, in order to maximize the interaction between the two circuits, the speaker of one is placed near to the microphone of the other and vice versa, and in order to favour beats phenomena the microphones have been surrounded with phono-damping materials (technically an acoustic low-pass filter) to shift the Larsen tones in the mid-low range. Poor audio quality. Sorry!

IVVN comes from the AMP2 experience, in which Marco Pianges also took part, but, unfortunately, as he was living on the other side of Sicily it wasn’t always possible for him to join us, which was a pity. Eventually, the AMP2 project came to an end, but we decided to keep going as a quartet as we were happy of the results from our live at AudioVisiva Festival in Milan, as well as from other recording sessions we had in Palermo.
I met Gandolfo for the first time at the music meetings organised by Sciajno, which eventually led to AMP2, and he is probably the member of the group I’ve played with most, both because of our friendship (I was often a guest at his house so we could easily play together) and because we enjoyed a lot our duo.
Enterico Trio also comes from AMP2, namely from the recording session we had with Tim and that led to the album published on Bowindo. During the time of the recording sessions, both me and Tim were sleeping at Gandolfo’s house, so we had a chance to play as a trio. We were happy of that too, so me and Gandolfo decided to invite Tim (what a great person and musician) in Palermo in 2011 for other recording sessions. We had a small tour in Italy during late 2011/early 2012, and we’re almost finished with an album which is due to be released soon.
As for my live at the SMC conference, that was LIES (topology) (there’s also LIES (distance/incidence)). My goal for the LIES performances is that of creating a dialectics (talking through the other) between two interdependent and autonomous entities, where a non-hierarchical relationship is established. Kind of playing as a duo. From a technical point of view, the way I interact with the machine is that of modifying its internal variables through a MIDI surface mapped to the feedback coefficients and to the parameters of the DSP components within the network. This way, I can dynamically change the topology of the feedback networks by closing/opening loops, as well as change the relationship between the components by altering the processing they perform and how much a component influences the others and vice versa.
|. (Bar Dot) focuses on the exploration of feedback systems in improvisation. The general idea is that Andrea Valle’s system and yours are interconnected, each one affecting the other one. Andrea’s computer will generate a control signal for the computer-piloted electro-mechanical orchestra he operates, based on the analysis of your sound, and the sound of the orchestra will in turn affect your system’s behaviour. Once again randomness is rejected in favour of unpredictability. How important is it to you to find new directions in sound within a controlled environment?
I would say that for me it is important to find new directions in sound within a non-controlled environment. Working with non-controlled, unpredictable machines can be a fruitful source for finding new directions. I don’t mean that in the sense of having no choice at all. For the implementation of my systems, for example, I try to make them so that their behaviours are interesting, but I’m not interested in controlling the inner activity of such behaviours. Moreover, such systems can be capable of autonomously shifting from one behaviour to others, and when I try to drive them towards different states, behaviours which are new to me may also emerge. It is indeed about performing together with the machine.
The reason why I stress that I use no randomness in my systems is because it is possible to achieve unpredictability both through randomness and chaotic processes, and even if they might look similar, they’re quite different. Some systems, for example, implement processes which are unpredictable because they’re driven by random generators, although processes themselves are not inter-related and self-related, they have no memory of themselves: the previous output of one process does not affect the next one. Thus, randomness and processes operate over two different and separate levels. In chaotic systems, instead, what happens at any given moment depends on what happened before, and this inter-relation between processes is for me a feature with important sonic outcomes.

LIES | Dario Sanfilippo Live at PTT | Rome 23.02.2013

Enterico is Tim Hodgkinson on prepared table guitar, electronics, clarinets; Gandolfo Pagano on prepared guitar, electronics and yourself on laptop. “The idea for this project – you write – is to consider improvisation from a systemic point of view. Improvisation, a process where any action is mediated by listening, can also be understood as a mechanism to set up an implicit feedback loop between the performers. In such a configuration, every performer is influencing all other performers and is in turn influenced, recursively. Performers are thus strictly coupled and constantly interacting in a situation where effects are also causes, a circular causality that will lead to nonlinear developments and unpredictability. The result is a holistic whole, something which is different from the sum of its parts, a complex dynamical system with global emergent properties.” To demonstrate in practical terms your working method, could you maybe pick one particular moment in the live excerpt you have uploaded onto Soundcloud and talk me through it?
Yes, I described the trio focusing on that idea, but I think it is actually something which applies to any improvisational approach. I wanted to underline the idea that a group of improvising musicians should be considered as a whole, and not just as a summation of the characteristics of each member. I like to think of improvisation as a functional mechanism to achieve the afore mentioned interaction, and not as something which itself defines an aesthetics.
I think that any part or development in the embedded track is representative of such an approach, as the track is a non-edited extract from one of our improvisation sessions.
Next one up is the INNV or the Institute for the Very Very Nervous, an electro-acoustic improvisation which had an earlier incarnation as AMP 2 and which also included Domenico Sciajno. AMP 2 released an album, Hopeful Monsters, part of the Musica Improvvisa boxset by Die Schachtel which took as the concept of the Hopeful Monster introduced by the biologist Richard Goldschmidt at its basis to indicate an individual of a species showing a relevant mutation in its genes. “This mutation makes the individual a “monster” as it differs from all the other individuals of his species but, at the same time, it is hopeful as it can lead to a radical discontinuity in the otherwise continuous evolution of the species.” In a similar way, INNV works with no pre-planned structures, favouring improvisation. Indeed, as Andrea Valle explained to me, diversification in sound is very important to INNV. Will any of the hopeful monsters generate a new breed of sound?
Each one of us has always been researching new sounds. Every time I’ve met the other members of the group, they had new devices or processes augmenting their sets with which they created sounds, either as instrument preparations, self-made instruments, or software implementations. Personally, I think I would hardly be able to work with found-sounds now, and my attempt is to implement systems which can potentially lead to new sonic and formal (two strictly inter-related aspects) results every time.
You’re also collaborating with SEC_ who’s from the Naples area. What can you tell me of this particular collaboration?
The first time I met Mimmo was a few years ago in Avellino, when I played a duo with Gandolfo, but we didn’t really have a chance to talk. After I moved to Naples we started hanging out together and sharing ideas and music. Eventually we organized a concert where we played solo sets and as a duo. That’s how it all started. After that, we did some recording sessions and more recently we’ve been working on an album which is almost finished, and which could actually turn into two albums. Mimmo is now a good friend of mine and I’m very happy about this collaboration. I really like his work a lot.
How do you manage to work on so many different collaborations?
It is not that easy indeed. With Mimmo it is easier as we live in the same city, but most of the other people I’m working with are based in different cities, and some even abroad. We try and organize gigs in order to be able to physically meet up and eventually work on other recording sessions or projects. When I go back to Sicily I always try to stop by in Palermo to see Gandolfo, whereas with Andrea we can easily work online when it comes to writing and such like. Whenever the occasion arises, I can also travel to meet the other musicians I collaborate with, if we have something specific to work on.  If, on the other hand, they happen to be in my area because of some other work they’re doing, that’s also a good occasion to meet up of course.
On a more general note, just to get an idea of your listening background, how influenced have you been by examples of feedback in both contemporary music, and I’m thinking specifically of Steve Reich, and pop and rock music with the likes of Robert Fripp and Sonic Youth?
Not at all, to be honest. I have only recently started to listen to some Sonic Youth and Robert Fripp (I think Gandolfo played some for me), which I like, but I wasn’t listening to them when I started working with feedback. I’m quite sure I’ve listened to Pendulum Music a long time ago, but that wasn’t the trigger to get into feedback either. It all started while implementing patches: at some point I tried some processed feedback loops and, as I have already mentioned, I thought that that was something to be deeply investigated.
Generally I used to be heavily into the Breakcore scene, and when I was younger I listened to a lot of Sepultura, Pantera, Negazione, CCCP, Primus and Alice in Chains, and even some traditional or classical music. Although I’ve always been listening to non-conventional/experimental music from an early age.
I am particularly interested in finding out whether you have experimented on feedback captured from specific natural environments both in and around Naples and Sicily. Anything you could tell me on that front?
Unfortunately I haven’t had a chance to do that yet, but I would be interested in doing so. I have some ideas but it’s still something in its very early stages.
You are originally from Agrigento, how did you end up in Naples?
After I started working empirically with feedback, I eventually got interested in studying such systems from a theoretical point of view too. I then also looked for other artists involved in such a practice and I discovered the work by Agostino Di Scipio, which was extremely fascinating to me. During my Bachelor in Trapani I had already read several of his articles and was also in contact with him. I was about to finish my studies in Trapani and I knew he was going to teach in Naples, so I decided to do my Master’s Degree with him. I think he is an amazing theorist and I love his work, and I’m very happy about this choice.
As a non Neapolitan, what are the aspects of Naples you appreciate the most and what do you miss the most of Sicily?
Naples and its people are nice, friendly and of a sunny disposition, and the food is good! Somehow I think that with Naples “what you see is what you get”, both for the good and the bad aspects of course, and that is a good characteristic. The city itself is beautiful too, and going out for a walk is always a pleasure, and thanks to my friend Fabrizio Elvetico, another fine musician, I live in a lovely house in the center of Naples. Also, I have made good friends which are dear to me.
As for Sicily, what I miss the most is surely my family and my old friends, but luckily I go back there a few times a year, certainly during the summer when I go to the seaside with them as well.
You will be performing at Perditempo Dante in Naples on the 3rd of March. What is the electro-acoustic / experimental / improv scene like in Naples as opposed to the one in Sicily?
I will have a duo with Birgit Ulher, but the concert has been moved to Perditempo Majella, but it is still on the same date, though.
I think that both in Naples and Sicily there are some great musicians. I’m not much up to date on what is going on in Sicily at present, but here in Naples, even given the financial constraints, there are still some very nice things going on, and also different musicians from abroad who play here, thanks mainly to the people involved in the Alter@ Festival, and venues such as Perditempo(s), Oblomova, Cellar Theory, Ferro3, and others.
Finally, what are you currently working on?
Besides what I have already mentioned, at the moment I’m developing a few projects with Simone Pappalardo, another great guy and musician based in Rome. We’re going to play a duo in Rome on the 23rd of February, and we’re also working on a sound installation with a hybrid, feedback-based, digital and electro-magnetic system. As of my live projects, I’ve currently been working on my short-circuited devices, namely on how to have them interact, and I think it’s time for this project to come out of its embryonal state, so a LIES (bent) is soon supposed to see the light of day. Other than that, I’m trying to organize a small tour in May, I’m working on an article which should be published on the Interference Journal, and me and Andrea are basically finished with revising a collaborative paper which is due to be published on Computer Music Journal next Summer.

Dario Sanfilippo will be playing both as LIES and together with Simone Pappalardo at PTT, Via dei Sabelli 125, Rome on the 23rd of February 2013 and on the 3rd of March 2013 at Perditempo Majella in Naples.
- Gianmarco Del Re for Fluid Radio

Wednesday, June 26, 2013

Free Download or Donation Jakob Rehlinger Babel

  • Heurter Limited Edition CD

    Limited edition CD with spray stenciled digipak. Pro-duped, thermal printed discs. Numbered edition of 25.

    Includes immediate download of 3-track album in your choice of high-quality MP3, FLAC, or just about any other format you could possibly desire.

    Buy Now  $5 CAD or more

    ships out within 2 days
    edition of 25 
  • Digital Album

    Immediate download of 3-track album in your choice of high-quality MP3, FLAC, or just about any other format you could possibly desire.

    Buy Now  name your price





Three track EP. Solo electric guitar improvisations. Telecaster, mallets and loop effects. Recorded live direct to two-track, late 2012.


released 07 January 2013
Jakob Rehlinger

Tuesday, June 25, 2013

Alphonse Allais (1854-1905)

Album primo-avrilesque, 1897 [PDF, 2mb]

Allais wrote the earliest known example of a completely silent musical composition. His Funeral March for the Obsequies of a Deaf Man of 1897 consists of nine blank measures. It predates similarly silent but intellectually serious works by John Cage and Erwin Schulhoff by many years. His prose piece "Story for Sara" was translated and illustrated by Edward Gorey.

Allais participated in humorous exhibitions, including those of the Salon des Arts Incohérents of 1883 and 1884, held at the Galerie Vivienne. At these Allais exhibited arguably the earliest examples of conceptual art: art, his plain white sheet of Bristol paper Première communion de jeunes filles chlorotiques par un temps de neige (First Communion of Anemic Young Girls In The Snow) (1883) and a similar red work Apoplectic Cardinals Harvesting Tomatoes on the Shore of the Red Sea (Study of the Aurora Borealis) (1884).

UbuWeb Historical | UbuWeb

PennSound | Artmob | EPC | WFMU

Gil Kuno Radiologic

Due to this decade of the iPod, some have started to become calloused to the existence of radio frequency. Most every city has its own unique set of radio stations, each emitting original audio content into the airwaves. This can be considered one of the city's signature sounds - morphing, undulating, and shifting at any given moment.
Gil Kuno's Radiologic is about taming this multi layered beast by sculpting the individual audio streams into a palatable 2 channel mix. He will use multiple radios simultaneously to tune into the local radio stations, and manipulate them in real time with various effects and mixing techniques. The result is a living soundscape; each unique to the location and time frame. Photo: Radiologic performance at Ars Electronica. Guest mixer: Carl Stone.
 Radiologic LA by Gil Kuno and Carl Stone on Mixcloud

Monday, June 24, 2013

Listen Fred Frith

Legendary experimental guitarist Fred Frith performs improvisations at the 11th Other Minds Music Festival at San Francisco's Yerba Buena Center for the Arts, 2005. Frith performed at the festival both as a soloist and as a member of the due Normal, alongside Sudhu Tewari, a Bay Area resident of Indian descent whose remarkable music is performed on homemade acoustic instruments. Since recording Guitar Solos in 1974, Frith has been regarded as one of a handful of radical innovators on the instrument. He has collaborated with such luminaries as guitarist Derek Bailey, Bill Laswell, Miya Masaoka, Hans Reichel, Heiner Goebbels, John Zorn, Han Bennick, and Christian Marclay. A co-founder of the English rock group Henry Cow, Frith also has composed a significant body of chamber music for such groups as the ASKO Ensemble, Rova Saxophone Quartet, and Ensemble Modern.

Listen and Download Jeff Gburek

NNN 62 (Six Deviations from an an Origin-Vibration)
Two guitars are used. One ebow placed on one string of the first guitar generating a constant vibration throughout and calibrated gently. A free string of light-weight gauge is threaded through the strings of the first guitar and then through those of the second guitar and then drawn down to the other side of the second where it can freely be engaged with an array of piezo pick-ups to create various textures and overtones incidental but related to the origin-vibration. One can experience the sense of guiding the sound whilst remaining simultaneously amused by the autonomy of the sounds themselves. The piece ends when I have exhausted myself and/or the possibilities of creating interesting deviations from the source. Recorded at Nur Nicht Nur Studios, Kleve, Germany.  Thanks to Dieter Schlensog.

10 minutes | 9.12 mb | download

meldwater (jeff gburek and karolina ossowska), nov. 23, 2010 by Jeff Gburek

Object 10 Signes installation, Liege Biennale, 2008
4 minutes 7 seconds | 3.8 mb | download
5 minutes 4 seconds | 4.6 mb | download
4 minutes 14 seconds | 3.9 mb | download
“I find it impossible to imagine design except through interference, failure, interdpendence of transformational paradigms. It is an impossible thought that carries through all ontological boundaries.”
The Only Escape is a Dream
Fort Stanton walk
11 minutes 19 seconds | 10.4 mb | download
(t)raum: basalt, granite, limestone (excerpt)
9 minutes 59 seconds | 9.2 mb | download
Rm.315 No.3 (uncut)
9 minutes 41 seconds | 8.9 mb | download
“The Only Escape Is A Dream” is an acoustic documentary and sonic cartography montage recorded in Los Lunas, Fort Stanton & Albuquerque, NM. All materials compiled, assembled and mixed by Jeff Gburek for Djalma Primordial Science’s performance installation “Asylum: A Study of Place and Ghost”.  Details:

Stung by Heurtebise
Stung by Heurtebise II
8 minutes 13 seconds | 7.5 mbdownload
There is a cloudy figure in this film flickering in the back of my mind and he turns the crank of a boat-shaped music box. This must be Time? The box is clearly battered and rusty but as he turns the crank no music emanates, not even the pathetic creaking of the old gears I imagine to be inside. He starts to turn but then abruptly stops. Each instant in which he comes to a pause I feel a jolt and I suddenly wake up. Then, as I carefully scrutinize him, slowly, as if by imperceptible increments, he seems to be turning the handle again, even though I am convinced we have made no appreciable advance forward, nor backward, nor in any direction at all. In this way, I am kept awake in fits and starts, such that I am disabled of seeing any dream other than the one I am being prepared to see, the one that arrives on the edge of the sleep denied me.

Physical Address
Physical Address
27 minutes 33 seconds | 25.3 mb | download
physical address: a material presence/absence ratio is audible through all types of interface: body systems, circuitry systems and all informational environments. in the vita nuova of the viral network, we can think in terms of tissues, strategies for communicating “through the walls”, blood-brain barriers, and the hertzian spaces, a kind of aether or plasma around us: we combine to form an extensive ecology whose medium is our own body to that degree it seeks connectivity whether external or internal. 

Sunday, June 23, 2013

Free Download Adolfo La Volpe & Pablo Montagne


Adolfo La Volpe, Pablo Montagne
15 Improvisations

date: 2012-04-15
time: 46:39 min.
size: 60MB

  • streaming download MP3 download OGG VORBIS 01. [02:27] IMPRO 01
  • streaming download MP3 download OGG VORBIS 02. [03:42] IMPRO 02
  • streaming download MP3 download OGG VORBIS 03. [02:29] IMPRO 03
  • streaming download MP3 download OGG VORBIS 04. [01:30] IMPRO 04
  • streaming download MP3 download OGG VORBIS 05. [03:33] IMPRO 05
  • streaming download MP3 download OGG VORBIS 06. [01:49] IMPRO 06
  • streaming download MP3 download OGG VORBIS 07. [05:58] IMPRO 07
  • streaming download MP3 download OGG VORBIS 08. [04:03] IMPRO 08
  • streaming download MP3 download OGG VORBIS 09. [03:42] IMPRO 09
  • streaming download MP3 download OGG VORBIS 10. [01:59] IMPRO 10
  • streaming download MP3 download OGG VORBIS 11. [02:54] IMPRO 11
  • streaming download MP3 download OGG VORBIS 12. [04:38] IMPRO 12
  • streaming download MP3 download OGG VORBIS 13. [03:30] IMPRO 13
  • streaming download MP3 download OGG VORBIS 14. [01:55] IMPRO 14
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PABLO MONTAGNE – P.Pascale acoustic guitar (with old strings), Adolfo’s little Washburn

ADOLFO LA VOLPE – P.Pascale acoustic guitar (with new strings)

Recorded by Adolfo La Volpe at Adhil Studio, Ceglie del Campo (Ba), November 3, 2011; Mixed
by Adolfo La Volpe & Mimmo Galizia; Front cover drawing: Andrea Montagne

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Eccoli ancora, questa volta assieme in un duo acustico, Pablo Montagne e Adolfo La Volpe tornano
su AlchEmistica con un nuovo lavoro assieme alle loro chitarre. Si sa come vanno queste cose, due
amici si incontrano, si conoscono da tempo, hanno suonato tante volte assieme e sanno come far
dialogare i loro strumenti. Una semplice visita di amicizia diventa la scusa per scambiare un paio di
idee musicali, per lasciar parlare le chitarre, per cesellare 15 improvvisazioni, 15 scampoli di
discorsi, 15 dialoghi. Poi la scelta di riascoltarsi, valutare il materiale e decidere di farlo uscire con
AlchEmistica. Potevano perdere questa occasione? No assolutamente. Mancava solo la cover, a
questo ha provveduto Andrea Montagne e non poteva disegnare meglio due musicisti così.