Argine is the result of opposite feelings led by the desire for change. 2022 has been a dense year and the sound of this work could not fail to reflect this adjective. I’m pleased to introduce the album using the words included in the cd sleeve. Thanks for listening…
“On my tiptoes I loosened the screws of parched gears, leaving it to fate to bring down my fake ivory skeleton with a gust of wind. My name has been written among the creeks of the time – every name should be like this – but no one has ever reminded me of it. The nuances are imperceptible letters that curve the gaze, small gems given away in the Pisces era. Last night I saw tomorrow in a succession of twelve blades, like a pond that suddenly turns into an ocean of tears. It is that smell that penetrates the senses just before the rain arrives, the muddy scent of burnt silk. I play arpeggios of inconsistent notes with the unfinished idea of an abstract smile, colored sketches that are linked to my abandoned dreams, thrown into the basement of memory. Timidly I open that door and I sit on the antique armchair in the center of the room. Beyond the walls there is only the mute din of nothing calling me, but I do not answer and with bare feet I wait for the water to rise, touching my skin. What is a metamorphosis if not the suffering of a new life? I vomit golden placenta and beg my shadow not to go away. I shake her hand that slowly indulges at the crossroads and, at dawn, a hill of snow-covered cedars turns into my new dwelling. Today it is the precious metal that I fold without hurting myself, shiny and unscratchable. Tomorrow I will see my bloody shadow again and among crystal fragments I will dance with him again as a gift that I will repeat until my peaceful farewell.” Francis Gri
“Sull’assenza” it’s an introspective album that tells in music the moment after a farewell in its different shapes: the inner turmoil, the solitude, the soul decadence, the abandonment. But it also tells the listener about the human inner force to get up after a defeat and bury the negative memories in a hidden place, where they remain forever and no longer hurt. The album tells the experience of Lucio Leonardi (aka Pluhm) but it could be a story of each of us as this matter is so universal. The new album marks a clear change from the other releases, touching new musical horizons like jazz, contemporary music and world music. It’s a pleasure to introduce Pluhm for the first time in the catalogue.
It‘s a huge pleasure to present for the first time in the catalogue the talented French composer Toàn. His third official album, Phonolite, is a little gem of eleven tracks and more than one hour of ambient and electroacoustic music. There is something special in Toàn’s sound and his capacity to create, with a wide range of acoustic and electronic instruments, a unique world of colours and shades. His sonic paintings are visual collages of microsounds perfectly arranged and chiselled in a photography of the early twentieth century. The name Phonolite comes from the Ancient Greek meaning “sounding stone” due to the metallic sound it produces if an unfractured plate is hit. Minerals and stones are therefore the concept of this outstanding album, a meditative piece of art that closes the trilogy after Histos Lusis and Volta No Vento. Please be captivated by the frail elegance of Phonolite.
After the successful experience of “Maps of reason” published in 2019, the Brussels-based duo Tropic of Coldness is back on Krysalisound with their eight record “Deriva”.
“Deriva” fits as the soundtrack of docking on a safe harbour after being exposed to the currents of irrationality and emotional restlessness.
This record is released exactly 10 years after Tropic of Coldness’ debut in spring 2012 and leverages on the experiences made during this long journey. It finds its ground on the strive to constantly enrich and expand the duo’s inspirational interactivity.
Tropic of Coldness is above all an alchemy resulting from the friendship and constant dialogue between David Gutman and Giovanni La Placa, being the logbook of their conversations and reflections about society transformations and dynamics
“Our Own Unknown” is the sophomore release of experiential composer Austin Rockman and serves as a follow-up to his 2019 debut “Plum God” Aside from aimless descriptions, as definitions often present limitations, “Our Own Unknown” is a statement of the artist in a modern era, grasping towards a personal silence and deep attention to not only the world of dreams, but the world around, of which there is no division, the one which we did not ask to belong to, but find ourselves inextricably linked to all events and purposes, all pasts and futures, across time. Stepping aside from the largely synthetic and sampled based material present in his first release, Austin finds his foundation nearer to his roots as a multi-instrumentalist. “Our Own Unknown” utilizes the acoustic guitar for virtually all sound sources, each layer coming from a playful engagement with not only the harmonic and melodic aspects of the instrument, but the physicality itself. “Our Own Unknown” embraces the faculty of not knowing, as the album was composed through an improvisational conversation with the instrument and a small set of indeterminate software. As a result, the compositional process becomes more akin to freeform sculpting, responding to sounds and ideas as they arise, a largely visceral reaction with the medium.
Imaginary Tales is the first collaboration between Wil Bolton and Francis Gri. Recorded last year between London and Milan, this album signals a wonderful start to 2022 for Krysalisound.
These six tracks are the perfect sum of the individual sounds of Wil and Francis and their natural propensity to delicate and intimate sonorities. They are rendered with a broad sonic palette that includes modular synth, acoustic and electric guitars, sansula, electric piano, mellotron, found sounds and field recordings.
Imaginary Tales is an exploration of dreaming landscapes and lonely moments. Each song could be a story, a story without words. Each title is just the beginning of where your imagination may take you if you just close your eyes.
Lieve is definitely an autumnal album, with its delicate colours and fainted shades. in a way connected with “Fall and Flares”. In this work i tried to put in all my ideas without thinking of any concept, but just playing. The result is a collection of ten sketches that well represent my state of mind in this world so fragile and frightened. Lieve is the Italian word for saying “gentle”, a word that we are slowly forgetting, in the name of selfishness, especially in my country, Each track has been conceived like an abstract painting with layers of sounds most of them acoustic with notes of guitar, ukulele, sansula, kalimba, melodica, singing bowls but also noises captured through contact microphones, field recordings, tape loop cassette distortions.. And of course I can’t make an album without my inseparable electric piano and electric guitar. For this album there are three different masterings, one for the digital platform, one for the cd and one the cassette. A limited edition of handmade cassettes will be kindly prepared by the new-born label Fallow Recording and will be available next year. Beauty is a balance of energy between light and dark, like electricity that our body can feel through our senses. Making music is my way in seeking this beauty, something special and unique that allows me to connect, I hope, with listeners. Thanks to anyone who would like to listen to Lieve.
“Sattwa” is a selection of improvisations. Our approach contemplates two polarities: analog and digital. The analog section consists in the amplification, using the pins of two turntables, of different materials, in particular plastic, paper, aluminium, wood. The sounds produced, full of noise, they are exploited for the creation of essential rhythms. also includes two analog synthesizers. The digital section contemplates the use of concrete samples elaborated through algorithms of granular synthesis. Two material universes, therefore, two different sound spaces that use the same concrete elements and that face paths that seem antithetical and irreconcilable. It is therefore not a question of two universes in conflict with each other that seek to emerge but of a single living landscape, changeable and magmatic.
It’s a pleasure to continue the series of publications with the EP of the Italian musician Marco Giambrone. The first time I listened to ‘The limit of the sky’ his music immediately reminded me of the amazing sountracks of some of Inarritu’s movies. It’s an honour to present in the catalogue such a beautiful and intense work. About the album Marco says: “this work was born to collect some improvisations recorded over the last five years. In the moments of pause from my Silent Carnival project, I used to abandon myself into improvisations based almost exclusively on the use of the guitar. The sonic flow, free from song form, often took me to unexpected places, where I tried to combine the raw sound of distortions with the long, circular resonances of reverbs. If I had to describe this record, I would bring the image of me playing behind a window and I try to translate everything I see and the sensations I feel into sound.”
It’s an honour to present for the first time in the catalogue an artist I admire, Wil Bolton. I never thought that over the years I would introduce so many valuable musicians and this gives me deep gratitude for what is my greatest passion, music. Sumida Colors is the new work of the profiled London based artist, a nomadic soul that perfectly represents the range of sound colors that I intend to propose in the future. About the album Wil says: “Sumida Colours is centred around environmental recordings, a toy glockenspiel, bells and furin (wind chimes), all collected during a stay in Sumida-ku, Tokyo, the birthplace of Hokusai. The title track began by assigning six colours from the palette of Hokusai’s woodblock print ‘The Great Wave off Kanagawa’ to six notes of a musical scale. I then walked the streets of Sumida, taking a photograph each time I saw one of these colours in the details and textures of everyday scenery, and created a musical score from the order in which these colours appeared. “ I sincerely thank Wil for this beautiful gift and all those who will appreciate a work of refined beauty.