“Ipnolondra” è un brano originale realizzato tra 2020 e 2021 appositamente per “Caro Andrea”, ultima versione di un lavoro condotto da oltre dieci anni sul “Filò” di Andrea Zanzotto, in collaborazione con la la regista veneziana Sandra Mangini, la cantante e direttrice delle voci Giuseppina Casarin e l’attore Sandro Buzzati.
Il brano, nello spettacolo introduce la figura della Gigantessa nel passaggio tra il “Recitativo veneziano” e la “Cantilena londinese”.

Caro Andrea

IpnoLondra_(11E)

'All Our Friends Are Vampires', out now on Ninja Tune: https://awvfts.lnk.to/vampiresSo

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All Our Friends Are Vampires

All Our Friends Are Vampires (feat. Adam Wiltzie & Dustin O'Halloran)

From the album 'Unforced Errors' - out now on Vice de Forme.

Cassette and download:

Frosty sea green cassette - C-42 - limited edition of 70 copies.
Silkscreened box. Includes download code. 

Recorded and composed by Mark Vernon
Violin: Manja Ristić

Igneous Intrusions

From the album 'Unforced Errors' on Vice de Forme.

Music & mixing by Mark Vernon
Sonopetry& mixing by @ilaria_boffa

Sonopoem - 'Ode for Complexity' by Ilaria Boffa

'Ode for Complexity

And what’s next? Next roots to eradicate, cultures to dominate, archetypes to steal. Cyborg and Pseudo.
Assume mediocrity. No phenomenon is special, privileged, exceptional or superior.
Assume the principle, ‘if an item is drawn at random from one of several sets or categories, it's likelier to come from the most numerous category than from any one of the less numerous categories’.
And yet, the probability of being mediocre is increasing. The service of thinking is at risk.
Too-much-ness of counter-intuition. It’s hard to do difficult things.

*‘E’ difficile fare le cose difficili:
parlare al sordo,
mostrare la rosa al cieco.
Bambini, imparate a fare le cose difficili:
dare la mano al cieco,
cantare per il sordo,
liberare gli schiavi che si credono liberi’.

Clouds are moving fast. They’re shifting perspective. Carry me with you.'

* Nursery rhyme by Gianni Rodari, late Italian writer, especially children’s literature, pedagogist, journalist and poet.

It’s difficult to do difficult things: 
To talk to a deaf,
to show a rose to a blind. 
Children! Learn to do difficult things:
take the blind by hand, 
sing for the deaf, 
set free slaves who believe themselves free.

Nexotic Dislocation (with Ilaria Boffa)

From the 2025 album 'Unforced Errors' on Vice de Forme.

Hand-Me-Downs

An elliptical and enigmatic new release by Mark Vernon. Named after the microscopic crystals of calcium carbonate within our inner ear that can cause vertigo when dislodged, the album has an equally disorientating effect as all sense of time is dissolved in its delicate folds. Otoconia is an abstract and deeply immersive sonic experience crafted through the intricate interplay of field recordings and the EMS Synthi 100 synthesizer.

Known for his evocative soundscapes and narrative-driven compositions, Vernon has ventured into uncharted territory with this album. Unlike anything else in his oeuvre this fifty-plus minute work is an immersive, hypnotic sound bath of frequencies and tones. The deft use of ambient textures and abstract sonic gestures draws listeners into a liminal state, offering a meditative, introspective listening experience.

Composed using the legendary EMS Synthi 100, the basis of the piece is formed from processed field recordings run through a chain of the Synthi's filters and effects. For the most part the piece was mixed live with some tinkering and adjustments after the fact. A significant departure from the work with found tapes and audio archaeology that Vernon has become known for, we hope you enjoy losing yourself in this sublimely mysterious musical mirage.

Released on Greek experimental label Granny in a limited edition of 100 CDs.

Composed and recorded by Mark Vernon · Mastered by Yannis Tsirikoglou · Artwork by Yorgos Vourlidas


Otoconia (excerpt) (Granny Records, 2024)

From the Album 'Magneto Mori: Brussels ' on Flaming Pines.

One way to interpret Vernon’s evocation of Brussels is as a patchwork of interdependent absences. We hear numerous spoken stories, yet none of them in full; details are lost to magnetic erasure, to the truncations of compositional editing, to the recollective limits of fallible minds. A voice hesitates as it recounts an early memory of falling. Another falters into damaged tape as it describes a trip into the forest, words sunken irretrievably under disruptive plosives. Into these gaps, Vernon pours atmospheres that perfectly render sensations of potential and inarticulability: the gurgling of water, the overlapping chatter of public spaces, amorphous suspensions of drone, all of which act like guardians to these tender zones of absent specifics.

One speaker describes their return to a familiar space as like “rewriting on the same page, and sort of erasing what I had lived there, in order to make space for new memories”. It’s therefore perfect that Vernon’s process should centre the manipulation of analogue tape: a medium synonymous with the imperfect overlay of the past upon itself, with the previous contents of overwritten cassettes forever threatening to burst through. After recording residents of Brussels describing their earliest childhood memories, Vernon intentionally distressed the tape and buried it underground for 10 days, placing it alongside magnets that damaged and part-erased the contents. These recordings were then excavated and recombined in a random sequence, with Vernon occasionally “reconstructing” damaged memories by inserting extracts from the higher-fidelity originals. Despite the hands-on nature of this process, the end result feels like a more authentic depiction of the interaction between time and human memory than if Vernon had simply allowed the untampered tape to run. The present is never an immaculate and unbroken “now”, but a nonlinear jostle of immediate sensory experience, overlain recollections and lost histories pressing in at the edges, the words scrawled over themselves until the page starts to give way.

Magneto Mori: Brussels (excerpt 1)

Pespirito Pisco Sour

Paolo Calzavara - [ pax ~ ] sound​ ​artist,​ ​improviser,​ ​free-lance​ ​researcher​ ​and​ ​musical​ ​educator,​ ​acts​ ​in​ ​several​ ​areas​ ​of​ ​music and​ ​performing​ ​arts. He prefers the use of live electronics, field recording and electro-acoustic instruments obtained by hacking old audio equipment.
Self-taught​ ​musician,​ ​since​ ​the​ ​90's​ ​he​ ​has​ ​studied,​ ​play​ ed​ ​and​ ​collaborated​ ​with​ ​musicians​ ​such​ ​as Barre​ ​Phillips,​ ​Pauline​ ​Oliveros,​ ​Steve​ ​Lacy,​ ​Amy​ ​Denio,​ ​Jessica​ ​Lurie,​ ​Elliot​ ​Sharp,​ ​Roberto​ ​Dani, Alessandro​ ​Bosetti,​ ​Yannis​ ​Kyriakides,​ ​Nicolas​ ​Collins. He​ ​has​ ​numerous​ ​collaborations​ ​with​ ​different​ ​musicians​ ​and​ ​artists​ ​of​ ​various​ ​disciplines.
He​ ​is​ ​one​ ​of​ ​the​ ​founders​ ​of​ ​Fête​ ​Foreign​ ​(2004),​ ​a​ ​collective​ ​created​ ​and​ ​directed​ ​by​ ​Barre​ ​Phillips. Since​ ​2016​ ​​ ​he​ ​has​ ​been​ ​a​ ​member​ ​of​ ​CEPI​ ​(Centre​ ​Européen​ ​pour​ ​l’Improvisation)​ ​and​ ​the​ ​Italian​ ​group​ ​of​ ​FKL​ ​-​ ​​Forum​ ​Klanglandschaft.​ ​He​ ​is​ ​s​ound​ ​designer​ ​and composer​ ​of​ ​Garten,​ ​a​ ​research​ ​group​ ​in​ ​the​ ​field​ ​of​ ​performing​ ​arts​ ​from​ ​Milano.​ ​
Since 2007 collaborates with Manuel Frara (Interno 3) in audio-video live acts; in 2010 founded the Nautilus Duo and in 2014 with laura Copiello debuts in the duo Wunderkammer. He​ ​writes​ ​and performs​ ​live​ ​music​ ​for​ ​contemporary​ ​dance,​ ​theater​ ​and​ ​audio-video​ ​live​ ​acts​ ​and​ ​installations.
He​ has​ ​participated​ ​in​ ​numerous​ ​international​ ​music​ ​and​ ​theater​ ​festivals​ ​and​ ​contemporary​ ​art events.
> Selected​ ​publications  
•​ ​Nautilus​ ​Duo​ ​(P.​ ​Calzavara,​ ​M.​ ​Busatto)​ ​“Tales​ ​of​ ​the​ ​flying​ ​whale”​ ​CD​ ​(Setola​ ​di​ ​Maiale,​ ​2012);
•​ ​“Un​ ​di​ ​ritorneremo”​ ​CD​ ​(ApArte,​ ​december​ ​2013)
> Selected​ ​installations:  
• “NoFi-set#01”​ ​sound​ ​for​ ​“Pleasure​ ​Presence”​ ​a​ ​video​ ​installation​ ​of​ ​Interno3​ ​at: -​ ​DIVA​ ​Art​ ​Fair,​ ​New​ ​York​ ​-​ ​(USA)​ ​2007; -​ ​V07​ ​Video​ ​Art​ ​Fair​ ​-​ ​Venice​ ​(I)​ ​2007; -​ ​Hannah​ ​Maclure​ ​Centre​ ​-​ ​University​ ​of​ ​Abertay​ ​Dundee​ ​(UK)​ ​2014;  
•​ ​“Soundscape​ ​pool”​ ​audio​ ​installation​ ​at​ ​ART​ ​STAYS​ ​2010​ ​8th​ ​International​ ​Festival​ ​of Contemporary​ ​Art​ ​Ptuj​ ​(SLO)​ ​–​ ​2010.
> Selected​ ​concerts,​ ​festival​ ​and​ ​events:  
•​ ​15°​​ ​Angelica​ ​Festival​ ​Internazionale​ ​di​ ​Musica,​ ​Bologna​ ​(I)​ ​–​ ​2005; 
•​ ​Festival​ ​des​ ​Musiques​ ​Insolentes​ ​–​ ​Puget-Ville​ ​(F)​ ​-​ ​2006;  
•​ ​From​ ​the​ ​concrete​ ​music​ ​to​ ​the​ ​object​ ​sound​ ​-​ ​european​ ​festival​ ​of​ ​live​ ​media​ ​–​ ​Venezia​ ​(I)​ ​–​ ​2007;  
•​ ​Soundscape​ ​Train​ ​Festival​ ​in​ ​the​ ​thirty-year John​ ​Cage​ ​train​ ​–​ ​Lecco​ ​–​ ​2008;  
•​ ​“Untitled...”​ ​Installation​ ​+ ​performance and​ “Breath​ ​and​ ​lead”​ ​live​ ​media​ ​​ ​collateral​ ​events​ ​at​ ​53°​ ​Biennale​ ​Arte​ ​di​ ​Venezia,​ ​Venezia​ ​(I)​ ​–​ ​2009;  
•​ ​“Fluxes”​ ​live​ ​media​ ​-at Festival​ ​of​ ​Performing​ ​Arts​ ​Pola​ ​(HR)​ ​–​ ​2009;.  
•​ ​“Fluxes”​ ​live​ ​media​ ​-​ ​ART​ ​STAYS​ ​2010​ ​8th​ ​International​ ​Festival​ ​of​ ​Contemporary​ ​Art​ ​Ptuj​ ​(SLO)​ ​– 2010;  
•​ ​with​ ​Garten,​ ​30°​ and 31° ​festival​ ​centrale​ ​di​ ​Fies,​ ​Drodesera​ ​-​ ​Dro​ ​(I)​ ​– 2010 2011;  
•​ ​Menglong,​ ​solo at ​collateral​ ​event​ ​at​ ​54°​ ​Biennale​ ​Arte​ ​di​ ​Venezia,​ ​Venezia​ ​(I)​ ​–​ ​2011;  
•​ ​“21”​ ​performance,​ ​collateral​ ​event​ ​at​ ​13°​ ​Biennale​ ​dell’Architettura​ ​Venezia​ ​(I)​ ​–​ ​2012; 
•​ ​“I​ ​am​ ​here,​ ​I​ ​have​ ​a​ ​gun”​ ​with​ ​Garten,​ ​Festival​ ​Apache​ ​and​ ​Danae​ ​festival​ ​Milano​ ​(I) 2014; 
 •​ ​CEPI​ ​Euro-Encounter​ ​2016​ ​France/Italy,​ ​Puget-Ville​ ​(F)​ ​2016. 
 •​ ​“Wild​ ​M”​ ​with​ ​Garten,​ ​Festival​ ​Apache​ ​-​ ​Teatro​ ​Litta​ ​Milano​ ​(I)​ ​2017
• “Frühling zuhause”,  Beyond the Silence - Chigiana International Festival 2020

IpnoLondra_(11E)

pax~

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