“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.