large_sr026-cover.png

medium_sr026-cover.png

small_sr026-cover.png

thumbnail_sr026-cover.png

sr026-cover.png

sr026-print.jpg

Incidental Effects is, in its very purest essence, a data-driven punk statement. It is extremely raw, uncompromising, fist-in-the-face, brutal; it is chaotic yet controlled, groovy but impossible to dance to. It strongly relates to the algorave scene, but it kills the rave-vibe by hitting you with so many questions. And it leaves you wanting to know more about the whole thing. It’s basically contemporary philosophy, masked as music.
Each of the 3 “songs” is a semi-improvisation created for 1 single synth sound. The 3 different sounds are manipulated live through an ORCA software patch that contains minimal available commands. The improvisation is structured and confined by numerical parameters. The work is an exploration of the non-obvious, yet ubiquitous, relationship between individual choice and operation/performance, within the digital domain.

Incidental Effects is a striking work because in its small time-lapse, it manages to raise some of the most fundamental questions in art, philosophy and music. Who chooses what is art? What is a beautiful performance and what is a wrong performance? Would the same concepts be possible without a given medium? And many more.

To put it in Giuseppe’s words: 
"Incidental Effects explores the displaced relationship between numbers and self. To what point will I recognize the unequivocal trace of my gestures once I transcode them through logical operators into digital-quantitative entities – i.e. numbers – literally “through the hands” of digital technologies? If all of our digital actions and interactions undergo a numerical transcoding via a gestural spatio-temporal segmentation, should we then think that the only traces left of ourselves are numerical traces?"

Can a live performance condition and its extemporaneous character, ever so gently alleviate the above paradox, that literally defines every work of digital art practitioners? 

Incidental Effects is centered around the utilization of minimal technology and sonic material. By minimizing technology and constraining sonic possibilities, the intent is to maybe enhance chances for the ownership of our own gestures.

Incidental Effects

Cover artowrk for Marco Malasomma NEOLINGUA album

large_Rounded Rectangle 1 (1).png

medium_Rounded Rectangle 1 (1).png

small_Rounded Rectangle 1 (1).png

thumbnail_Rounded Rectangle 1 (1).png

sr025-cover.png

front vinyl cover for Marco Malasomma album NEOLINGUA

sr025-vinyl-front.png

NEOLINGUA is the language that conforms to orthodoxy, a vocabulary that disavows regional identities, jargons, dialects, in favour of a single, simple, 'smart' language.

But can linguistic impoverishment be not only the effect, but the cause of cultural impoverishment?

Can standardisation lead to an atrophy of thought?

Can ignorance be the real secret of control?

And can culture be its only antidote?

By asking himself these questions, Malasomma begins a process of creation that uses terms from the Orwellian neo-language, and new words that have recently entered the Italian language, as narrative cues.

The electronic and mechanical sounds of modernity blend with distant acoustic echoes, prepared percussion and ideomes in forgotten - yet still spoken - languages.

NEOLINGUA

cover for alessandro ragazzo 'la devizione del profilo' sr024

large_sr024-cover.jpg

medium_sr024-cover.jpg

small_sr024-cover.jpg

thumbnail_sr024-cover.jpg

sr024-cover.jpg

design for SR 025 CD's 'la devizione del profilo' by Alessandro Ragazzo

sr025-cd.jpeg

‘La deviazione del profilo’ (the deviation of the profile), is a sound/concrete work that focuses its research on environmental and sonic "profiles" of multiple landscapes, interior or otherwise.
It is not about travel, but the freezing of an environment without identity, seeking the auditory erasure of the subject/object concept of a hypothetical territory, temporal suspension.
Thus the sound as a weft or a fabric, where, in its spaces, between its threads, voids and smaller sounds nestle.
At the same time, it presents the sound environment as an evident fracture and misunderstanding of the collective. The space is understood as a non-place, as as silence,, as the fundamental point of human ‘condemnation’: its nakedness, its being always and constantly skinless, exposed nerves. That is why in ‘La deviazione del profilo’ we can find the road we all commonly travel, home, the motions of the soul, illness, desire, death... Only man feels wonder at existing.
Thus, the overcoming of experience (noise-landscape) through the deviation of the sonic path, the false deviation of "it is forever"... where for mysticism the movement doesn’t even exist, the interruption of movement — static and motionless energy (rotation of the Dervish) and of the formlessness traceable to the immaterial —  differentiates the landscape.


La deviazione del profilo

large_sr023-cover.png

medium_sr023-cover.png

small_sr023-cover.png

thumbnail_sr023-cover.png

sr023-cover.png

SD card merchandise for album release SR 023 La voce muta by Fabio R. Lattuca

sr023-sr-card.png


Palermo-based sound artist Fabio R. Lattuca, transports listeners into intricate sound textures with his second LP, "La Voce Muta" released on Stochastic Resonance.

Following the success of his debut album "MATTER," released in 2020 by Germany's Midira Records, Lattuca expands on his research, and focuses on the element of voice, and its ability to create imposing sonic architectures and resonating cathedrals, dissolving what monody and medieval polyphony have managed to express, exploiting the solemn and profound value of vocal timbre.

Drawing inspiration from the vast soundscapes of artists such as Tim Hecker, Ben Frost and William Basinski, Lattuca expands his own timbral palette through arpeggiators and synthesizers, sampling and granular synthesis, developing a sound rich in nuance and broader movements .

"The Mute Voice" offers listeners a fascinating and restless world in which digital complexities coexist with analog textures, forming an immersive and profound sound experience.

The music release is accompanied by a graphic kit. Developed in collaboration with artists Andrea Ucchino and Scual, the artwork showcases a series of digital illustrations meticulously crafted to complement each track on the album.

The cover artwork serves as the centerpiece of this extraordinary collection. Rooted in a reflective meta-architecture, it merges the digital realm with the essence of nature itself. Through captivating glitches and deconstructed digital landscapes, Scual, creates an enthralling visual environment where the reality is only visible through reflection. Mirroring the album's concept, this digitized reality mirrors the transformative power of voice, offering a parallel reflection that explores the multifaceted nature of the human voice.

Each of the ten accompanying illustrations exhibits a more minimalistic approach while maintaining a striking interplay of mirrors and reflections. These artistic compositions ingeniously challenge the observer's perspective, urging them to question the very composition of reality itself. By emphasizing the viewer's standpoint, Ucchino invites listeners on a journey that resonates beyond the confines of sound.  

La voce muta

Image showing the Limited Edition of 16 Brass Plaque

sr023-Brass-Plaque.png

Stochastic Resonance is proud to announce the release of new album, 171115-203145, by the talented trio of Anacleto Vitolo, Luca Buoninfante, and Mariaceleste De Rosa. 

Born from the collaboration and free improvisation of the three musicians, each bringing their unique sound approach and study path to the table, 171115-203145 is the culmination of a series of electrifying electroacoustic sessions, in which they created a unique and captivating blend of soundscapes. 

Buoninfante's contribution focused on utilizing concrete sounds, objects, and microphones of various kinds, creating a raw and organic sound. Meanwhile, De Rosa's custom and self-made sound instruments, coupled with her synths, brought a touch of innovation and experimentation to the project. Vitolo, on the other hand, contributed to the project with more synthetic and digital components that emphasized the spatiality component of sound.
The result of this collaboration is an album that is both captivating and mesmerizing, where each track takes you on a journey through the unique and diverse soundscapes created by the trio. The album's tracks reflect a wide range of experimental and thought-provoking sounds, making it a must-listen for enthusiasts of avant-garde and experimental music.

Given the concreteness and materiality of the sound, on the visual level, the trio was joined by artist Mariantonietta Clotilde Palasciano, whose research is embodied in the creation of languages arising from the treatment and transformation of materials. 

This new collaboration between music and materials is declined in the creation of the cover art, in a series of 16 unique brass plaques crafted by Palasciano, through oxidation and corrosion techniques, and later laser engraved by BinaryCodedBrain.
The collaboration continues in the live performances, where the topologies created by Palasciano are used to create the visuals of the live performances, curated by Scual.


171115​-​203145

large_111122 Cover Art

medium_111122 Cover Art

small_111122 Cover Art

thumbnail_111122 Cover Art

111122 Cover Art

Cassette.png

SR021 - 001 Announcement Video.mp4

SR021 - 002 Announcement Video.mp4

SR 111122 B.png

SR 111122 D.png

SR 111122 A.png

SR 111122 F.png

SR 111122 C.png

SR 111122 E.png

111122 book preview.mp4

111122-book-mockup.png

111122 is conceived from the desire to celebrate the 11 years of activity of artistic research network Stochastic Resonance (SR), together with some of the artists who have contributed to its development over the years. And that it could thus stand as a witness to the network's work and dedication over the past 11 years and to celebrate its future projects.

The title refers to the date November 11th, 2022, which marks the exact 11th anniversary since the first event/release, 1111011 "Beginning Afterwards," which, on November 11th, 2011, enshrined the birth of the Stochastic Resonance project as a network of artists, engineers, graphic designers and creatives in various fields of research that could explore the interconnections between music, emerging technologies and human perception.

In line with SR's modus operandi, 111122 is proposed as a multimedia work, unfolding both digitally and physically, with a compilation of 19 previously unreleased tracks – published in 6 digital EPs and later merged into a single maxi-release – and a series of generative graphics employed for both the EP covers and promotional materials.

In the digital format the release was serialized into 6 digital EPs, released weekly for 6 consecutive weeks starting November 11. In the physical format, the audio tracks are engraved in a double music cassette, in a limited edition of 25 copies. The order of the tracks does not follow the temporal order in which they were released to more deeply mark the distinction between the two editions, and to provide a listening itinerary more in keeping with the cassette format.


## The Book

The 111122 album is paired to a book, divided in two themed-sections, which contains a selection of the graphic permutations generated for the project and a catalog of the projects and works developed by Stochastic Resonance over the years.

The first section presents the generative art project, curated by Scual, behind the creation of the graphics for 111122's EPs. The book contains a careful selection of the graphic permutations generated by the algorithm and a showcase of the research and development work, with technical breakdowns, analysis of variables and procedural rules, and complemented by a series of large-format images.

The second part of the book comprehensively reconstructs the work of the last 11 years of Stochastic Resonance with a catalog of the graphic designs created for all releases and events curated from 2011 to 2022

111122 Book is published in a limited edition of 50 copies, in an A5 (14.8x21) format with high quality print, 300gr paperback cover and sew binding.


111122

large_sr020-cover-art.webp

medium_sr020-cover-art.webp

small_sr020-cover-art.webp

thumbnail_sr020-cover-art.webp

sr020-cover-art.webp

Back of the download card for the unique bonus track of SR-020

sr020-download-card-back.webp

The front of the download card for the unique track of SR-020

sr020-download-card-front.webp

One of the 10 unique limited edition posters released with SR-020

sr020-poster.webp

**It Turns Out You Don't Need All That Stuff You Insisted You Did** (**ITOYDNATSYIYD**), reflects on the need for the superfluous, in both a material and immaterial sense: of how strong a driving force it is in the (post) capitalist societal condition. The feeling of need forming and unraveling, often even before it is realized, has brought progress and decadence forward hand in hand.
         
Seeking to express this suspension, that never comes to fruition and never completely vanishes, dTHEd approach this release with an eminently analog production, as opposed to previous releases skewed toward HD electronica. To mark the difference with previous productions, dTHEd, for the first time, are openly semantic, presenting comprehensible titles, lyrics and fonts, all generated by artificial intelligences. The partially surreal messages work at the level of digital hyperstition, in line with dTHEd's quest toward the development of mysterious digital oracles.

ITOYDNATSYIYD is the first offspring of analog experiments aimed at immediacy and the development of new set-ups for freer and more improvised live performances. Recalling the ephemeral condition of need, yearned for and hardly satisfied, the work develops short pieces that lap up an approximate, skimmed song-form that fails to build up as such, never consolidating into moments of sustained duration, due to the very nature of the improvisation.

To bring the concept more alive, in collaboration with Scual, the release is been extended to comprise different media, spanning across music, social media communication, graphic design and interactive digital environments.

The first output in this direction was the creation of a limited series of 10 unique prints, generated by an algorithm that extracts its generative seed from an Eurostat waste database, each with an associated, unique, audio track download.
This 10 different and unique prints with their 10 different and unique bonus tracks make up an alternative meta-album that no one will ever be able to listen to completely.

The second output was expanding the De Chirichian topology, with an explorable interactive environment, developer by SCUAL, in which the user can navigate the environment with classic game-play controls (arrows or WASD + Mouse POV) and search for a number of easter eggs which, if all unlocked, will randomly launch the audio of one of the bonus tracks. 
This allows a glimpse of the unique bonus tracks even for those who could not purchase one of the 10 posters.

The third and final output was an aggressive viral campaign on social media around the hastag #itturnsout.

ITOYDNATSYIYD

large_SR-019-cover-art.webp

medium_SR-019-cover-art.webp

small_SR-019-cover-art.webp

thumbnail_SR-019-cover-art.webp

SR-019-cover-art.webp

CD-sr019-2.webp

SR-019-packaging-1.webp

Ten tracks to explore a world where sound waves conquer emotional spaces, feelings, harmonic games, passages, expectations. Imok crosses his world of sounds and visions with simple musical features that refer to depths, which are now background and now govern the entire system of his music. In this flow, the piano insinuates melodies that bypass the rarefied atmospheres created by the electronics.

Nostalgia, the drifts, the anxieties go into the precipice of human affairs: as a sonar. Geometries of echoes to show the distances, waterfalls and torrents of notes to make this time beloved, similar as looking at a landscape: glimpses of valleys, woods, and then also underground passages, tunnels, road. This work by Imok seeks shores of meaning, being not scared by romantic tensions or landscape assonances that the composition creates.

But also distorted atmospheres, voices that seem to have a beyond respect to the music that surrounds them, swirls and encroachments, synthesizers and organs for a music that generates images, stories, visions. Traces that bring light to the memory: sudden shifts of flashes of light.

For sure in these tracks there is the idea of silence and a melancholy ending, ten movements to let us think of the after: the one that always repeats, when in the beginning the trace remains uncovered.

To Bls

large_SRS-cover-art.webp

medium_SRS-cover-art.webp

small_SRS-cover-art.webp

thumbnail_SRS-cover-art.webp

SRS-cover-art.webp

sa-001-box.webp

rendering8_5.mp4

rendering14-2.mp4

rendering13.mp4

**All proceeds will be donated to the National Institute for Infectious Diseases Lazzaro Spallanzani, with the aim of supporting research on Covid-19**

_"Two or more integer numbers are said to be coprime, if and only if their only common denominator is ±1"_

In these extraordinary times, Stochastic Resonance felt the urge to satisfy two very stringent needs: that of mitigating the impact of the new general living conditions and social interactions through what we know as soothing tools, and that of investigating new methodologies and creative tools to virtualize real experiences, given the disruption that the pandemic has brought to the fruition of performances in social settings, such as musical concerts, theater plays, dance, installation performances, clubbing, etc…).

The first need, for many of us, substantially translated into the composition of music, a means to reflect and condense our moods. The results have been concentrated in 16 staggering sound/sonic pills, to mitigate the passage of time, raise a contribution to the National Institute for Infectious Diseases Lazzaro Spallanzani and to continue cultivating the network of SR's multimedia artists in view of a future in which it will be possible to, once again, apply augmented reality functionalities in outdoor spaces.

The second is been addressed by starting an investigation and the developement of new methodologies and tools to virtualize performance experiences.

The Interi Coprimi 16 compilation therefore represents, so to speak, the zero step of a development path for those tool and environments, created around the artists of the SR roster who will/can be able to renew themselves in a potentially distorted world: that of the post-Covid-19. Given the great uncertainty about the future, the containers that SR will develop will be as dynamic and fluid as possible, so as to adapt to different potential scenarios.

The title of the compilation refers to Euler's function: since all the artists are now in lockdown, the interaction between them took place in a twisted and novel way, if compared to the past. Pending the development, by SR, of environments that can fill the current void or even "augment" the canonical interactive dynamics (pre-Covid19), the artists have worked in the absence of a common denominator, acting as coprime integers numbers.

We really hope this compilation will help soothing temporal fatigue symptoms  

Interi Coprimi 16

large_SR-018-cover-art.webp

medium_SR-018-cover-art.webp

small_SR-018-cover-art.webp

thumbnail_SR-018-cover-art.webp

SR-018-cover-art.webp

In Notturno, Ynaktera and Kenta Kamiyama join forces for a delicate deep dive into the night and the different statuses it represents. The five tracks of the album are a tribute to Light and Darkness and the stories behind them, Ynaktera and Kenta Kamiyama have catched some and poured them, from the moment it starts “Tramonto” to the moment it finishes “Aurora”, the album represents a reflection, rest and slow down of life and then coming back to light. In this first duo album from Stochastic Resonance the two different electronic styles, noise glitch of Ynaktera and ambient oriental music of Kenta merge perfectly in a new combination of colors exactly like the Artwork of the album.

Tracks from 1 to 4 take origin from a live recording session of the two artists, during the residency of Kenta in Rome in January 2018, that happened in a late night when everybody was asleep and the two artists have the opportunity to freely move and blend their own styles in a unique composition. 
Afterwards the tracks have been re-edited and shaped to became a release. Track 5 represent the ideal closure of the album and is a tribute to the huge Italian romantic poet Giacomo Leopardi, in which in “Canto di un Pastore Errante dell’Asia” the poet addresses a struggling hymn to the moon which in the album is recomposed as a poem by all mankind.

An additional contribute to make this release unique is the “SR Shell” the packaging ideated, designed and engineered by Ynaktera, which represents an innovative step regarding CD packaging, being a mastercraft in digital 3D printing. Printed each piece at the time, with incredible small layers of 0.1 mm for a total amount of about 1500 layers, using special Ultramarine Blue PLA material and in a super slow speed requiring more than 24 hours for each piece to guarantee these level of details, this elaboration represents a new step of manufacturing using digital tools. All these to guarantee the exclusivity of every each copy for a collector limited edition CD. On top of that an envelope of antistatic bag to ensure even more elegance and protection to this precious Album.

Notturno is released in a limited edition of 50 copies. 

Notturno

large_sr017-cover.jpg

medium_sr017-cover.jpg

small_sr017-cover.jpg

thumbnail_sr017-cover.jpg

sr017-cover.jpg

sr017-photo1.jpg

sr017-photo2.jpg

sr017-photo4.jpg

sr017-photo3.jpg

tochastic Resonance is pleased to present JURA the latest work by Marco Malasomma (composer, percussionist and electronic musician). The work is configured as a concept album that, taking its name from the island where George Orwell concluded the writing of the famous novel "Nineteen Eighty-Four", draws parallels with it; revolving around two discursive threads: a reflection on modern society and a analysis of the role of the artist's place of residence, while in the act of artistic creation.

JURA, a remote Scottish island, in fact, represents for the artist an ideal escape place in which to find oneself, one's own humanity and one's critical thinking far from the pressures of society.
It's not an easy place, though, JURA. It is isolated, impervious, harsh, so much that at that time, the already precarious conditions of Orwell worsened up to Tuberculosis. But it is also the place where there is the opportunity to analyze and describe the world today with a lucid and detached look.

From this basis, Malasomma creates an association and continuous parallels between the Orwellian vision arising from remote place both in time and space, and the modern times; where the information is in a continuous present, distorted and simultaneously proposed in antithetical thesis and concepts, which are able to remove critical thinking and perception of oneself and the surrounding reality.

The music follows this vision: in fact, it varies from drone/ambient atmospheres, to tribal rhythms, arriving to tracks with a strong electronic matrix; where ambient sounds meet, acoustic pianos and tight rhythmics. In this way, the martial gait of the clapping hands, winking at the minimalism of Steve Reich, is contrasted with 'layers of memory' formed by echoes of voices and distant noises.

The record, produced by Stochastic Resonance in a limited edition of 300 copies edited by Italian-Argentine designer Jime Ghirlandi, is characterized by a clear electronic matrix, but in which the element of acoustic sound is strong, thanks also to the musical interventions by Salvatore Dante (didgeridoo), Giovanni Todisco (symphonic timpani) and Tita Tummillo (vocals).
The titles of the 8 tracks are in 'neolingua' (newspeak), a language used in the Orwell novel to inhibit the 'old mental habits' and make every form of thought impossible.  

Jura

SR016 Kenta Kamiyama's Signs of Rain cover art

large_sr016-cover.webp

medium_sr016-cover.webp

small_sr016-cover.webp

thumbnail_sr016-cover.webp

sr016-cover.webp

SR016 Kenta Kamiyama's Signs of Rain Compact Disc digipack

sr016-cd-case-2.webp

sr016-cd-case-1.webp

The forest heading to the mountain. A deeply huge cave. Before I knew it, I was standing in such a place. The atmosphere and water echoes, the reverberation like the water gorges. I'm not sure if this is a dream or a reality, apparently I seem to have traveled so far. In this place where there is no sign of people, I feel like the intro of the theme song of the movie called Baghdad Cafe that I liked blown down, and the old memory revives a little. Until I came to this place, I should have had very personal troubles. Nonetheless, it became irrelevant anyhow. Wind breaks out. Proceed. Go further north. The album ’Side Effects’ by Kenta Kamiyama is such a journey to the space. I feel he is always trying to capture music as the sound that echoes to the place. Eisuke Tachikawa / NOSIGNER

Signs of Rain

large_sr015-cover.webp

medium_sr015-cover.webp

small_sr015-cover.webp

thumbnail_sr015-cover.webp

sr015-cover.webp

“Rivera”, by Curved Grooves, carried out between 2015 and 2016, focuses on a steady research on achieving different solutions to the clash between instrumental and electronic sounds: two worlds that appear to be distant as for composing, technical and prosodic approaches.
It’s from this concept that the choice of material develops, ranging from the employment of urban noises and environmental samples to rarefied vocal tones and guitars, trying to conciliate the electronic sounds with a more human and concrete dimension.
This research path brought a compositional form for which everything undertakes a gradual change. Therefore a development of the tracks led by inner, subtle, minimal variations which, little by little, overturn the initial bases in unexpected developments.

Rivera

Album cover for Agan's "Amplification of movements" (SR 014)

large_sr014-cover.webp

medium_sr014-cover.webp

small_sr014-cover.webp

thumbnail_sr014-cover.webp

sr014-cover.webp

Front cover of the vinyl version of Agan's "Amplification of Movements"

sr014-vinyl-front.webp

Back cover of the vinyl version of Agan's "Amplification of Movements"

sr014-vinyl-back.webp

A concept album is the best way to get back being Agan. "Amplification Of Movements" (2017) is the first full-length album of Giuseppe Carlini, already member of Plaster with Gianclaudio H. Moniri (Kaeba). The work is inspired by and dedicated to the Natural Reserve of Vico Lake, in Italy. During a four-year period, from 2012 to 2016, the artist focused on the wildlife of the area in the province of Viterbo, considering it both as an inspiring muse and as an object of study. "Amplification Of Movements" was developed little by little, in the wake of an "onion" architecture and layered in six songs which inevitably reference the nature of the site. The parallels between the place and the music are also to be found in the search of a sound, which is balanced between field recordings and inventiveness.

Each track is comparable to a separate path that unfolds in the reserve. The multiple references thus form a path that is both homogeneous and in constant change, as to the actual ecosystem in which they are projected. The album, as the title suggests, is designed to amplify these micro-processes in the macro-natural dimension represented by the Vico Lake. The electronic music of Agan stimulates the listener's imagination, as to include him in what happens between the roots of the trees or on the surface of a flower or a leaf, thus expanding the range of their reach. The invisible becomes visible. Not surprisingly, "Amplification Of Movements" reflects its layered structure: it is an album which is subject to different interpretations.

the natural paths soon turn into oneself deepest roots. The amplification arises, therefore, as a consequent analysis of breaths, of the arterial pulsations and gastrointestinal movements, extracted out of the human component and immersed in the natural one. The album draws also a kind of binary consciousness / unconsciousness system, in which the listener is dragged slowly. The stasis of reality and the imagination’s rhythm are in continuous oscillation outside in the environment and, above all, within ourselves. The vibration resulting envelops us and, in the face of the secular dualism between unknown and perceptible, promotes, once again, the mean of exploration as a genuine vehicle for change and inner search. 

Amplification of movements

Album cover for K.lust (Anacleto Vitolo) Liven (SR 013)

large_sr013-cover.webp

medium_sr013-cover.webp

small_sr013-cover.webp

thumbnail_sr013-cover.webp

sr013-cover.webp

Compact Disc front cover for K.lust (Anacleto Vitolo) album Liven (SR 013)

sr013-cd-front.webp

Compact Disc back cover for K.lust (Anacleto Vitolo) album Liven (SR 013)

sr013-cd-back.webp

Anacleto Vitolo, already active as AV-K , K.lone, Kletus.K and former member of several experimental acts, such as X(i)NEON (with doublebass player Francesco Galatro), Internos (with Domenico Stellavatecascio - voice) and Algebra del Bisogno (with Viola player Michela Coppola), releases his first album as K.lust, an evolution of his own past project K.lone.

“Liven”, realized and refined between 2013 and 2015, is focused on the concept of circularity, combining an intricate rhythmic work with deep bass lines and warm drone/ambient textures.
The whole album is built around the concept of tribalism. In a tribe the collective activities are punctuated by ritm; thus the music, passed down from mostly oral sources, serves as the encryption standards that articulate and regulate the rites, which are a revival of the dynamics of social and existential life. In this frame, cyclicity becomes a key concept: it has, in fact, the dual role to reflect the cyclical trend of the seasons and human activities, and, at the same time, to facilitate a state of trance, led by repetition, which helps the abandonment of the individual consciousness in favour of collective and euphoric one.
K.lust makes this concept his own, and develops it in six tracks, which, for more than fifty minutes, plunge the listener into an atavistic and ancestral world, trying to unite the contemporary sounds of the most experimental techno to the atmospheres, the suggestions and characteristic spirituality of the ancient world that initially inspired the work.  

Liven

Cover artwork for Ghostphace album Oscillations (SR 012)

large_sr012-cover.webp

medium_sr012-cover.webp

small_sr012-cover.webp

thumbnail_sr012-cover.webp

sr012-cover.webp

Compact disk external package for Ghostphace album Oscillations (SR 012)

sr012-cd-front.webp

Compact disk internal package for Ghostphace album Oscillations (SR 012)

sr012-cd-inside.webp

Postcard for Ghostphace album Oscillations (SR 012)

sr012-postcard-1.webp

sr012-postcard-2.webp

sr012-postcard-3.webp

Poster for Ghostphace album Oscillations (SR 012)

sr012-poster.webp

Ghostphace, one of the founders of the network of artistic research, Stochastic Resonance, releases his first full-length album, "Oscillations".

With this new work, which comes after his three brief - but incisive - appearances in the releases that compose the "trilogy of numbers" (1111011, 1212012 and 1112013), Ghosphace brings a decisive turn to his sound.

"Oscillations" has, in fact, been minutely developed over the course of two years, during a gradual assemblage, and subsequent study, of a modular synth. The first inspiration can be easly recoducted to the early works of Autechre, Boards Of Canada and Apex Twin.
But, in this frame, Ghosphace, reinterprets those sounds, declining them in a darker and thinner setting, consistent with his previous productions.

In this way a coherence with his aesthetics, is maintained, which is already well defined in his live performances and previous releases and that can be traceable in industrial noise, ambient and avant-garde sounds.

Thus the analog compositional approach, through the use of the modular synth, links Ghostphace’s past experiences, with his new path: keeping the minimalist taste but using, at the same time, extremely articulate and composite sounds.

The result is a very recognizable and consistent music flow throughout the whole album, in which the introspective tension of the research path is tackled efficiently by the 15 tracks that make up the work.

"Oscillations", thus, connotes itself as a journey through the changing visions of Ghostphace, trying to get away from the compulsive eccentricity of certain electronic music, which only wants to impress with pimped drum kicks and snares.  

Oscillations

Cover artwork for MKR album "Unfolding Spaces" (SR 011)

large_sr011-cover.webp

medium_sr011-cover.webp

small_sr011-cover.webp

thumbnail_sr011-cover.webp

sr011-cover.webp

Poster front for MKR album "Unfolding Spaces" (SR 011)

sr011-poster-front.webp

Poster back for MKR album "Unfolding Spaces" (SR 011)

sr011-poster-back.webp

Spaces. Spaces which unfold between the rhythms, the harmonics walls, and the grooves of M.K.R. as happens in the reinterpretations of six different artists, Agan, AV-K, Dramavinile, Kolmitt, Nasti and Subion.
Plans that are reversed and blended with each other, blurring the boundaries between one creation and the other. A record that, according to the artist's vision, is meant to represent the "sharable multiproperties in the mutlipersonalities of the individual". The expression of an original concept is, recovered, blended, revisited, personalized and finally reproposed. The provision itself of the tracks is to reflect this dynamic; no distinctions, only one flow, which evolves multifaceted. An album whose pregnancy has gone hand in hand with the creation of the remixes, just to help the game of references and redundant speculations which reside behind the concept,  initially inscribed in some verses of the same MKR:

“Spazi. 
Spazi pieghevoli che mutano,
attorno a massicce reazioni
di emozioni, di finzioni, da sottrarre, da costipare
 e riproporre 
in base al tempo, ed al battito. 
Considerevoli facce, tante medaglie. 
Addensate
Un tott'uno nello spazio e lo spazio tutto nell’uno.
Cosi’ la multiproprietà condivisibile 
nella multipersonalità dell'individuo, si spiega. 
Scoprire di rinascere
ogni giorno, in una morte lenta di anni.
Amore nell'amaro, 
distruzione nel paradiso.
Ne yin, tantomeno yang,
che sa di plastica 
che viene dai cibi degli dei.
Nuclei di fuoco in perimetri ghiacciati.
spazi pieghevoli
e nei loro centri
dove si creano metamorfosi 
di quello che era e di quello 
che sarà.”

Unfolding Spaces

Cover artwork for Komitt album "Chain Session" (SR 010)

large_sr010-cover.webp

medium_sr010-cover.webp

small_sr010-cover.webp

thumbnail_sr010-cover.webp

sr010-cover.webp

After a self published EP and a small live recording for Stochastic Resonance, Kolmitt trio is back with a full-length album. Following the path already outlined by the previous releases, the material included in the album was recorded live and rearranged, after many studio improvisations. The result is a composite and manifold material, that moves from spare and rarefied textures to odd beats and complex constructions. However, beyond this variety it’s still very recognizable the proper sound of Kolmitt, which strongly characterizes their productions.

Chain Session

Album cover for Hatori Yumi's "File Creation Error" (SR 009)

large_sr009-cover.webp

medium_sr009-cover.webp

small_sr009-cover.webp

thumbnail_sr009-cover.webp

sr009-cover.webp

Second release in the lab series: “File Creation Error, Unable to Rename/Copy Audio File” is the first release by Hatori Yumi on Stochastic Resonance and is based on the concept of digital errors. information translated into digital signals, then compressed and denatured, assume the language of the computer.
The tracks of the EP are characterized by massive and solid rhythmic structures, which appear and alternate, following additional and subtractive patterns and compositional elements.
The result is a continuous oscillation between agglomerations of sounds every time different and morphologically uncertain. If, at a first listen, structures seem limestone recursive scheme, layering sound reveals a complex and sophisticated formal structure that plays on the concept of lack.
The EP features, also, four reinterpretations of Hatori Yumi’s compositions by M.K.R, Scual, Ynaktera, Yoshitaka Hikawa.

Kenta Kamiyama Signs of Rain

Kenta Kamiyama
Signs of Rain