mercoledì 22 gennaio 2014

Mutant Sounds reborn. The Italian posts of Mutant sounds vol. 9 (Giorgio Montori-Giampaolo Chiti/Giancarlo Toniutti/Giorgio Buratti)

Giancarlo Toniutti

Giampaolo Chiti-Sergio Montori - Risoluzioni sonore (197?)

One of the most profoundly ridiculous library releases ever, and yet one with a strange allure. To hear this is to marvel at just what the hell exactly they assumed these pieces were intended to soundtrack, as the sonics herein are utterly retarded. Gracelessly flat-footed and rinky-dink keyboard themes set to bontempi organ cha-cha/bossa nova beat presets, it's a sound that for the right set of ironic ears and under the right set of conditions ( a party mix with Tom Recchion and Tipsy tracks) would have a definite amusement value. Well...I for one am amused, anyway. Your milage may vary.

Giancarlo Toniutti - La mutazione (1985)

Giancarlo Toniutti is born in Udine (friuli - italy), 21.3.1963researcher in morphology and anthropology fields (linguistics, acoustics, material cultures etc.) and composer of experimental electroacoustic sound-works. Basically. The whole activity is centred on a basic notion, which is connected to an anthropologic view of the human activity in general, of its knowledge and the tools enabling and structuring such a knowledge. The sound activity is thus linked to a realm of sound we could simplistically define as electroacoustic or equally experimental, although these notions may have a meaning. The sound work, through the diverse natural developmental phases, is focused on some problems and notions both inherent to the nature of sounds and their structuring and articulation in sound forms. A research connected to the acoustics of materials, chosen as sound sources or generators, materials by now almost only of an acoustic kind (natural objects, custom-made objects and natural sound sources recorded on field). The work is thus strictly connected to the acoustic-morphologic nature of the sound sources, and the action is directed to allow and/or induce such sources to generate sound (microcompositional aspect), in the observance of the inner characters of the materials and their forms. At the same time a research on the notions of form linked to its functions of an anthropologic (and somehow biologic) character, on which a work related to the sound morphologies fits (macrocomposition), almost exclusively connected to analogic means of action onto sound (magnetic tape and equalization, for example). Has xollaborated with Andrew Chalk and Conrad Schnitzler.

Giorgio Buratti - Explosion/Four tunes for a waltz (1971)

Utterly obscure and extremely curious, Buratti's field of operation is out jazz, but his choice of instruments and his minimal and idiosyncratic M.O. make this lost slice of weirdity truly ahead of it's time. While both his collaborators and their remit differ greatly from side to side, Buratti's personal musical arsenal on both consists solely of bass potentiometers, generators and sound effects. Viewed from a certain vantage point, this makes him the grandaddy of contemporary onkyo/lower case/hairshirt improv, prefiguring these strategies by close to 30 years in some respects, but I digress. "Explosion" is, expectedly, the blood-spitter of the two, deceptive flute tootles presaging cacophonous lunges into lopsided cabaret-ish piano pound, disjunctive dictophone chatter and massively close-miked and loud acoustic bass plucks. Wonderfully weird shite to be sure, and with a rigorous and bracingly modern edge that, time-frame-wise, really only compares to Wolfgang Dauner circa "Output", but "Four Tunes For A Waltz" is the real capper here, if ya ask me. Grooving in a rawly frazzled fashion that has a certain akin to both Toto Blanke's live album with Electric Circus and the scrappily wasted and loose limbed side of krautrock ala Spacebox on the one hand and Zippo Zetterlink and Ejwussl Wessahqqan on the other, though aspects of both Rahsaan Roland Kirk and AACM-related stuff suggest themselves elsewhere as well. A serious find, methinks.

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