The ropes is a metaphor of human relationship.
All of us are tied to somebody else with invisible ropes, a sort of unconscious connection that move us together in a unique flow like planets and satellites. We can choose every day in which way using this rope: holding, binding, breaking. And like in a game we can pull or stay in balance, helping or hurting. It sounds simple because it’s all about our decisions but as we are unperfect creatures this generates twines and twines of mistakes.
On this album I recorded the regret I have for all the times I have chosen the wrong path.
consequences of words a rope can hold bind or break twined together like seeds of compassion stillness is your garden
Thanks for listening….
I strongly hope you and your families are well and safe in these crazy days.
Today I am going to present two Italian artists: Nāda Mushin and Grotta Veterano. Different styles but with a similar intention, their works are moving with an emotional flow that evolves through long and meditative tracks.
In a sort of way these two works remind me of the different shapes of water: the first, the energy of a waterfall and, the second, the stillness of a lake. And like the concept of Yin and Yang I decided to publish them together.
“Tenue” is the second Nāda Mushin’s work published for KrysaliSound but you can also listen to several self-released works on his Bandcamp page. His hypnotic music continue the path started with the previous album “Mono No Aware”: wall of sounds, drone guitars and Taoist philosophy.
“Luung” is a beautiful finding to me and the first Grotta Veterano’s album for KrysaliSound. His music floats in a balance from ambiental micro-sounds, digital sculptures and gentle notes of piano. He comes from my childhood region, the Friuli, and he released in the past for Midira Records and La Petit Chambre.
Thanks for listening.
KS44 | Nāda Mushin “Tenue”
KS45 | Grotta Veterano “Luung”
Pawel Pruski “Between” is now available in store in digital format and cd.
I hope you and your families are well, hoping the worst has passed away.
We have lived through difficult months and I think all of us have had the time to re-evaluate our livesthinking about what is really important and what not. Digitalism won against everything, we have the opportunity to make a make a better world, cleaner and peaceful.
In the end we are a little grain of sand in comparison to nature, maybe it’s the time to take a step backward and think less about our ego. Krysalisound is always sensible about these matters and I think after this new season something will change for the label.
In the meantime it’s a pleasure to start September, one of my favourite months because it signs the end of the hot Italian summer, with such a beautiful album. “Between” is the new work of Pawel Pruski, an amazing Polish artist. His electronic music is gentle and soft, the perfect soundtrack for starting the new season! Thanks from the heart for your attention.
Between. It is interesting to look for what lies between the words, between the moments, between the first and the next particle of sound. There is a completely different picture of music. Its structure is no longer linear and the whole thing is freezing over time. There is no earlier and no later, there is no history and no future, there is no cause and effect. There is only a single moment levitating “in between”. We don’t need any kind of language or descriptions. “Between” is just a set of these moments.
I hope you and all your families are fine after these difficult months.
Before the closing of the season and the restart in September with new amazing artists I am pleased to present 3 digital releases which are published together today June 13th. During the lockdown I received a lot of demos and I wanted to give voice to new names that I hope you will remember in the future. All of these works are involved in some way with the Coronavirus days.
Sascha Rosemarie Höfer is the first name and comes from Germany. In the last months he found an archive with an old project recorded in 2012 and during the isolation he edited and completed the work.
Robbie Elizee is the second artist and comes from Nashville, USA. I found his music on Soundcloud and what I will propose you is a collection of minimal electronic songs almost all recorded during the isolation.
Flow Control is the project of the Tucson Az based Jesse Anderson. He uses recording techniques which are very fascinating to me like tape loop cassette and reel to reel.
You will find all info about their works on the Bandcamp pages and below useful links.
Thanks for listening.
KS40 | Sascha Rosemarie Höfer “Bar-Do”
KS41 | Robbie Elizee “Cull/Machine Choir”
KS42 Flow Control “Ephemeral”
Francis M. Gri “Boke” is now available in store in digital format and cd.
“Boke” is the Japanese word for saying blur and mental confusion.
In 2013 a person very close to me was diagnosed with what I call the memory disease.
Unfortunately in these long and struggling years I could see every step of this disorder.
So, I decided to record this album to find a sort of relief in my soul and to make people aware about this painful disease.
Each track is a degenerative phase of this malady that in 2020 has no cure and is becoming every day more widespread.
Our mind is a recorder that makes us react to the impulses of life. We are the sum of our days spent and without memories we go back to being a blank page.
Interruption of memory is a collision between our dreams and what we are….
Andrea Laudante “Banat banat ban jai” is now available in store in digital format and cd.
It’s a pleasure for Krysalisound to begin the new year with a new Italian debut album.
Andrea Laudante is a young pianist with an experimental soul that I’m sure will have a bright future. Banat banat ban jai is a spiritual mind journey in which piano talks with silence and noise creating a sensational album that I hope you will love as much as I did!
Banat banat ban jai is a diary of a journey through sound and listening, as a form of meditation. Listening carefully to every kind of sounds in different places and with several methods gave me a new perception of the world around and inside me. In this work these two worlds melt into each other and became become one. The only subject is sound and its origin, in all its forms. The focus of the research is looking for a common ground between concrete and instrumental music. There is no difference between the sound that comes from a guitar and the sound that comes from wind blowing trough leaves, if we know how to listen.
Condensare, sintetizzare l’esperienza della città ma anche il “concetto” di Venezia: questo il senso della sigla VNZ nel nuovo “Untitled_” di Federico Dal Pozzo, che dopo il recente “TeVeT” prosegue la sua collaborazione con la Krysalisound di Francis M. Gri.
Elaborando in tempo reale varie sorgenti concrete e field recordings, l’autore realizza con mano sapiente e delicata – seppur decisamente poco ortodossa – un “concerto” acusmatico dedicato a questo scrigno di storia e tradizione, luogo dell’anima che sembra suonare autonomamente la propria sinfonia, “e non c’è mano grande abbastanza da voltare le pagine dello spartito”.
Non poteva essere altro che l’acqua, dunque, l’elemento primario di questa libera astrazione lagunare: stille d’acqua purissima sfiorano la superficie sonora, la accarezzano finché non passano gradatamente allo stato solido, tintinnando e propagando la loro eco tutt’intorno; le onde gentili delle manipolazioni elettroacustiche imitano fruscii di nastri e vecchi vinili; in secondo piano si ripetono i versi di una recitazione sconnessa, come frammenti sparsi di un già criptico monologo beckettiano; un’insistente nota di pianoforte insegue la propria scia in crescendo risonanti alla Charlemagne Palestine.
Al ventesimo minuto sembra chiudersi brevemente il sipario, ma con il reingresso le epifanie strumentali divengono più costanti, benché ugualmente sfuggenti. Si odono i rintocchi di un campanile in lontananza, laddove in superficie acute scie elettroniche vorticano lentamente, fluttuando su un asse verticale lungo tutta la gamma delle altezze.
Superata abbondantemente la mezz’ora, l’atmosfera in prevalenza tonale fa spazio ad aspri ronzii statici in stereofonia, come di vecchi schermi catodici cui non rimane altro che un muto dialogo tra simili – e non è forse vero che quel flusso continuo di sfrigolanti linee bianco-nere somiglia allo scrosciare indisturbato di un fiume in piena?
In questo stesso solco giunge a compimento l’opera, con un finale che stende una sottile patina di rumore bianco, sgomberando il campo da qualunque stralcio descrittivo evocato in precedenza. L’intero excursus finisce col somigliare a un processo di rimozione, anziché a una nostalgica mappatura sonora della città in cui Dal Pozzo è nato: il suo “Untitled”, semmai, raduna impulsi inconsci entro un paesaggio troppo annebbiato e opaco per lasciarci vedere la cartolina di una Serenissima che, in ogni caso, non si può più definire tale. Di quel paradigma romantico, dell’eleganza e prestigio che avrebbe voluto tramandare in eterno, resta oggi soltanto un’ombra.
“Untitled_VNZ” is an acousmatic concert dedicated to Venice and its sound. A sound that vibrates of water, stone, re, metal , all of which in a continuous movement of sensorial and mnemonic evolution. Time becomes water that collects re exes of our hearing and later absorbing to design a story of echo in new notions of forms. An orchestrated composition from the city’s topology, a city that makes one think of music papers in a continuously played music: the scores come together like sea waves, the pentagram bars are canals with its numerous “legato” of bridges, of high churches windows, and let’s not forget the violins on the edge on the gondolas. Its Music is bigger than the orchestra, and there is no hand big enough to ip the score sheet.
RELEASE DATE: 24.06.18