Silenzio Distribuzioni News

Gli Ultimi Arrivi Di Novembre. Click Per Infos.

Novità dall’Europa, (+un paio di bei titoli dal Canada) in ambito contemporaneo con venature impro-elettroniche (o in ambito improvvisazione, con venature contemporaneo-elettroniche, se volete!).
Auguri di buon ascolto!


>>>>>> NUOVI ARRIVI <<<<<

AMM at UEA – Eddie Prévost and John Tilbury. Recorded at a concert given at the School of Music, University of East Anglia, Norwich, England, on the 14th February 2005.
CD; Matchless; EU 16,50

Reed Solos: John Butcher, Nathaniel Catchpole, Kai Fagaschinski, Lou Gare, Evan Parker, Seymour Wright
Recorded at 291 Gallery, Hackney, London, England. On the 9th of January 2005, at an ongaku: enjoy_sound production.
2CD; Matchless; EU 32,00

John Tilbury Plays Samuel Beckett
1. Cascando: A radio piece for music and voice
Voices by John Tilbury – Music composed and performed by John Tilbury with electronic modulations by Sebastian Lexer
2. Rough for Radio 1.: For music and voices
Voices: Christina Jones and John Tilbury – Music composed and performed by Sebastian Lexer, Eddie Prévost and John Tilbury
CD; Matchless; EU 16,50

Apogee 2005
Alvin Curran, Eddie Prévost, Keith Rowe, Frederic Rzewski, Richard Teitelbaum, John Tilbury. “In 1968 Mainstream released an LP with AMM on one side and MEV (Musica Electronica Viva, then based in Italy) on the other. In 2004 the two groups re-convened in London. Two of the five original AMM (Eddie Prevost and Keith Rowe), and three of the original five MEV (Alvin Curran, Frederick Rzewski and Richard Teitelbaum) still in place. The only new boy on this CD is their contemporary John Tilbury; since 1980 he has been the stable third AMMusician. On CD 1 the entire ensemble is in a studio, in meditative mood mostly; on CD 2 the two groups play separately at the ‘Freedom of the City’ festival in London the following day – a very good live recording, and a rare opportunity to hear MEV again. It was a great concert. IIlustrated booklet with a substantial essay by Harry Gilonis.” – ReR site review
2CD; Matchless EU 32,00

“the new release on cologne based label a-musik contains compositions by marcus schmickler that were performed and recorded over the last four years with many various musicians and ensembles. these recordings document schmickler’s interest in a confrontation with modern classical composers, they are a return of ‘the living dead.’ according to schmickler, innovations are only possible by including the old. schmickler has been known also for his different approaches with pluramon, mimeo, his collaborations with thomas brinkmann or the improviser thomas lehn. param continues his series of releases on a-musik although it presents itself less electronic and less bulky than wabi sabi or sator rotas. the original recordings of the compositions are newly edited for this release.”
CD; A-Musik; EU 14,00

Sator Rotas
“Marcus Schmickler aka Wabi Sabi (A3) aka Pluramon expands his electronic experimentations, creating a surreal, open music that enraptures the listener with raging soundwaves and maximum density. Expect the unexpected from the new school of improvised music: hybrid wooshings, subsequenced crackles, microharmonical adventures. Strange, tense, cool and rich of superb pranks.” – FE
CD; A-Musik; EU 14,00

Wabi Sabi
Wabi Sabi is a staggering sounding, beautifully packaged and simply significant contemporary electronic album by marcus schmickler out of the thriving german underground music scene. schmickler has one release under his own name on the odd size label in france, and was a contributing member of pol and kontakta on the same label. most recently he released the exceptional pluramon pick up canyon album on the mille plateaux label (which featured the guest drumming of jaki liebezeit). this cd consists of two pieces: “wabi sabi” — a devastating 33 minute 2-channel spatial composition that mixes gorgeous flowing electronics ala francois bayle with moments radio-static density and transcending sound waves. “param” is a shorter work of 2-channel, powerfully droning electronics. “the pair of terms wabi and sabi are expressions of an attitude towards life that draw the power of artistic creation from silence and decay.
CD; A-Musik; EU 14,00

“musical events which are more or less alien to each other meet in a wide and harmonically differentiated space, which is explored in different directions. briefly, they communicate – only to seperate again. diverse actions form a clearly discernable foreground: the piano provides flageolets and piccicati, slow arpeggi and feldmanesque figures which move through the space supplied by the computer sounds while, at the same time combining with these. from time to time, little events rear their heads as if posing a question. a mutual pulse is an altogether rare occurance. the piano’s harmonic figures meet with computer sounds unexpectedly within a slowly changing acoustic environment. piano pixies sing and dance serenely in a virtual space while the noises from the instrument insitage dialogues with the computer. the music ist tranquil, never aggressive and is at almost every moment polyphonic in the good old sense of the word. pretty often, the two musicians play on two different planes so that in spite of the slowness of the whole thing, the resulting complex relationships offer a lot of surprises. once the listener has become engaged in this process, he/she will remain so and become ever more curious. the sureness and the tranquility which emanats from these musical actions, figures, shapes and processes, acknowledges and asserts the ghost of morton feldman, who seems to hover benevolantly over these sounds: stop asking questions.” johannes fritsch (vi’2005)
CD; A-Musik; EU 14,00

Nilan Perera – altered electric guitar and effects / Sarah Peebles – laptop & de-tuned shô (mouth-organ)
with guest artists John Butcher – soprano and tenor saxophones  and Chung Gong – calligraphy performance (video)
CD I  Smash and Teeny
CD II  Smash and Teeny with John Butcher, “Kaladar Kodex” video -Extra CD-
Gathering brings together the most exceptional music and video art of Toronto duo Smash and Teeny, created live in performance, studio and site-specific outdoor locations in Canada, the U.S. and England between 2001-2003.  In this double-CD debut of Smash and Teeny, featuring special guest John Butcher, prepared electric guitar, manipulated natural and urban sounds, de-tuned shô and soprano and tenor saxophones conspire and collide, weaving impossibly beautiful improvised sonic landscapes.  A stunning blend of saxophone science meets a universe of crafted sampled environments and ancient reed cries, all blended with guitar that has been lovingly altered to resemble massed percussion and string ensembles. Kaladar Kodex (video) features the sonic inspired calligraphy of Chung Gong Ha set to an improvised musical score by the Toronto-based mixed media trio, Cinnamon Sphere (Peebles, Perera and Gong). Juxtaposing real-time with the non-linear, “Kaladar Kodex” provides a layered psychological perspective of the act of spontaneous creation: two musicians and a calligrapher come together in a rural field where they explore their musical, artistic, physical and spiritual connection to the elements and to the historical far m surrounding them. Peebles reconstructs their performance and the myriad of views recorded by herself and Perera, with an eye towards the textures of plants, creatures and ink, musical gesture, and non-linear, experimental form. This is a tableau of improvisation in the moment ‹ an autumn afternoon as the storm approaches beyond the barn.
2CD; Spool; EU 27,00

A Global Taxonomical Machine
Taxonomy (Martusciello, Lella, Fega) plays compositions and improvises, exploring the syncretism between different musical codes. Taxonomy always allows the whole to be divided up into its constituent parts. A line of shadow between osmosis and isomorphism. Martusciello is a member of the improvisation group Ossatura.
In the same spirit as Parasites (AM096), this group chooses an electro-noise approach. The finesse of the mix, worthy of electroacoustic music, highlights the rich details, a dynamic palette ranging from clashing noise to silent tracks. The album, A Global Taxonomical Machine, offers a gripping blend of concrete noise, abstract electronic effects and acoustic sections. Martusciello work in the improv group Ossatura, a major act on the international avant-garde music circuit.
Places which do not appear on any map. Morphological analogies that lie between thought and micro-organisms. Strange correlations between the letters of forgotten alphabets and globalised (de-localised) languages. For us in the past all books, alphabets, signs, chemistry (both organic and inorganic), geography, religion, politics and journeys were only scenery of an experience, a dream or aspiration. Then we met by the same bookshelf of that same library.
We are not particularly cultured and so we confined ourselves to the task of taxonomy, the most arbitrary of taxonomies. We thought about compiling signs according to our desires. The resulting volume does not tell any story, or even reveal any truth or discovery. This is an illegible text, devoid of significance but with meaning. If, in some way, the world itself can be reflected in the myriad of small fragments that compose it, then this is the fragment that we have unearthed.
Very active in a number of groups and ensembles, and extremely versatile, the members of this trio live for improvised and experimental music. Elio Martusciello is a renowned electroacoustician, with several international awards under his belt. Besides electronics, Roberto Fega also plays tenor and soprano sax. He is a member of the political fanfare Titubanda and the multimedia collective Arturo, and also composes music for dance. Graziano Lella is best known as a bassist and a sax player. He has previously played in a punk band before joining the avant-rock group Dura Figura in 1997.
CD; Ambiances Magnétiques; EU 14,00


Prima prova solista (edita dalla portoghese SIRR.ecords) per il romano Graziano Lella (che comunque si esplicita attraverso lo pseudonimo arg). Quella di Arg è una elettronica “micronizzata”, frutto di trattamenti, spesso profondi, della materia sonora originale (si tratti di un basso preparato o di voci femminili) sempre irriconoscibile. Il risultato è frammentato, sincopato, il discorso spezzato e “pericoloso”. Ma non per questo meno affascinante. Ci sono dei referenti (tutta la scena microwave – Cascone, Behrens, Migone ecc.), ma ci pare che il livello della proposta di Arg non sia assolutamente inferiore a quello dei più conosciuti colleghi. Si tratta di una materia sonora in ebollizione, spinta verso i sentieri impervi e scabrosi di una ricerca – a tratti – estrema.
CD; SIRR.ecords; EU 16,00

SILENZIO distribuzione / ants records
Via Filippo De Grenet, 26
00128  Roma  Italy
tel & fax +39 06 508 2556