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 Marco Ferrazza  Inextricable

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         Diversivo per il respiro 

         Piani modali 

         Handmade Memory 

         Stratificazioni, passaggi 

         Cantus  

 

         excerpts

 

 

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El compositor y artista multimedia italiano Marco Ferrazza investiga las relaciones entre arte electrónico y grabación de campo, improvisación y nuevas tecnologías, consciencia del sonido y complejidad hipnótica. En Inextricable, su primer álbum, aborda la electroacústica desde la finura lineal y la pureza ambiental. Entre lo tangible y la disolución, el espacio real y la abstracción, las fuerzas concéntricas y la hibridación. Delicadeza en las tensiones, balance en los timbres, estructuras y tratamientos suculentos son una gran seducción para el oído.

 

Notas del autor: leer

Notes by the author: read

 

Arte gráfico de

Marco Ferrazza

y Sarah Vacher

 

CD

dupli-pro

 

Julio de 2015

 

marcoferrazza.com

 

Podcast:

 

Vital Weekly #999 15/9/15:

"Handmade Memory"

 

 

         Críticas

 

" Opera di stratificazione e manipolazione “Inextricable”, di osservazione ambientale e cambi di prospettiva.
Di materia concreta della quale resta una traccia e del suo sviluppo/strapazzo.
Fattori come l'urto della memoria c'entrano eccome.
Tra sgranature digitali e distese di sibili/silenzi, sullo sfondo un tintinnio (all'apparenza) vetroso.
L'arte della registrazione di campo, del trattamento concreto e dell'intervento rimodellante.
Con visione contemporanea e ricerca dell'evento inatteso.
Una sequela di piani in lenta sovrapposizione stridente/cangiante.
Ricordi, luoghi, visioni e azioni che perdono il loro gancio temporale e si collocano in un nuovo spazio altro (non casuale e ben strutturato).
Che poi l'effetto conclusivo, sia quello di una piacevole risacca metallica o l'urto muto di particelle nello spazio, non dispiace affatto
.
"
(Marco Carcasi, Kathodik, 5/2/16)

  — — 

" According to the current trend, many official critics exalt the pestilence generated by cosmetically enhanced computerized melanges whose exclusive merit is that of highlighting both their creator and their evaluator’s sciolism. Then – out of the blue – a figure like Marco Ferrazza appears, restoring some measure of optimism in the focused listener with a sharp 41-minute statement.

Five sensible tracks, truly wonderful to enjoy, constructed around coordinates of acousmatic descent. Ambiences where every detail is modulated in full respect of its primary genetics, in order to welcome the receiver inside the music’s cellular structure. Never Ferrazza makes us feel as a foreigner in there. There’s a biotically orchestral quality to his work, which he meshes masterfully with the inherent harmonic content of tones, drones, slow curves and bursts of varying dynamic impact. One could picture – playing a bit – Asmus Tietchens’ clever positioning of sources within unreal environments permeated by the vibrating enthusiasm of a Paul Dolden. Just fantasies. The core of the truth resides in the assembler’s ability to retain the metaphysical qualities while, in a way, reassuring the audience through the use of familiar echoes. It’s not a surprise, then, to learn that Ferrazza mostly worked on “concrete” samples to give birth to this small masterpiece. As he himself writes in the liner notes, the “story” is clearly unspeakable.

On the contrary, the stimulating sensations and gripping mnemonic flashes experienced with each new spin speak volumes. If you’re smart, and willing to finally get rid of “names” who keep topping “expert polls” by releasing the same enlightened-yet-insignificant record year after year, this is the path to tread. The inward-looking post-existential aura of Inextricable deserves magna cum laude. We can only hope, from now on, that things progress as they should for this quiet gentleman
.
"
(Massimo Ricci, Touching Extremes, 8/11/15)

  — — 

" Ferrazza operates very much in the field of electro-acoustic and acousmatic music. The work he does is in fact quite traditional, perhaps along the lines of music on Empreintes Digitales, the Canadian label, but I must say that I seem to enjoy Ferrazza's music better than the releases on that label. It is slightly more minimal and even more abstract. The glissandi don't go up and down the scale all the time, but move around slowly and have in general a more ambient feel to it. A bit dark, obviously I'd say; traditional but great music, with an excellent spatial quality to it. " (Frans de Waard, Vital Weekly #999, 15/9/15)

 

 

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Última actualización: 11 de julio de 2016