(2025)LIMINAL AUDION💫 (New improvised work, inspired from Tangerine Dream, Edgar Froese, Jerome Froese, Christopher Franke, Johannes Schmoelling, Peter Baumann, Vangelis, Moby and Brian Eno in progress, not finished!)[Updated!]
*🎹 Software instruments: Synapse Audio "DUNE 3", Arturia "Analog Lab V", Kompose Audio, Roland D-50, Roland JD-800 and Roland JV-1080. Korg M1, Korg Wavestation, Korg Triton and Waldorf-PPG 3V. Ableton Sounds-Pitched Ambience. 
Sample from Christopher Franke's Sonic Images Library Demos, on Synclavier: "Plug Mix", "Microwave" and "FX1". And a short sample from TD "Encore". 
Edited sample from Kraftwerk "Uran", from the album "Radioaktivität", 1975. 
*Hardware instrument: "Arturia Keystep 37". 
*Inspired by: Kosmische musik/Cosmic music, Floataway, Tangerine Dream, Edgar Froese, Jerome Froese, Christopher Franke, Johannes Schmoelling, Peter Baumann, Klaus Schulze, Thorsten Quaeschning, Gary Numan, OMD, Brian Eno, Daniel Lanois, Roger Eno, Roedelius, Moebius, Moby, Vangelis, Bladerunner, Jean-Michel Jarre, Rupert Hine, New Age, Kraftwerk, Karl Bartos, Ralph Hütter, Florian Schneider, Wolfgang Flür, Trent Reznor, Tony Levin, Kate Bush, Terry Riley, Ralph Lundsten, Ludwig Göransson, Pink Floyd, Enigma, Genesis, Tony Banks, Peter Gabriel, Phil Collins, David Bowie, Supertramp, Hans Zimmer, Robert Fripp, Simple Minds, The Human League and Larry Fast/Synergy. 
Photo: "Solar eclipse from the ISS", NASA.
“To Err is Human; to Forgive, Divine.”—Alexander Pope

LIMINAL AUDION(2025)💫

The Tower

Producer of electronic, ambient and experimental music from the North coast of Italy. Subscribe to the channel, like, share. Thank you. 

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Rosario Marcianò (Native Sound), in addition to being an author of essays, a documentary filmmaker and an independent investigator, especially expert in the field of clandestine geoengineering and geopolitics, is also a musical composer. Self-taught, since adolescence he has cultivated, among other things, a passion for art whose inspiring goddess is Euterpe. This passion, over time, has given rise to a style and inspiration transfused into instrumental productions of considerable emotional impact. 

His compositions, which tend to go beyond the boundaries of more or less codified genres or subgenres, tend to combine a tense, sometimes hammering sense of rhythm with melodic lines not devoid of a refined dissonance. Generally speaking, these creations can be traced back to the field of soundtracks accompanying dramatic films, thrillers, action films.

It is symptomatic that the motifs created are exclusively instrumental, we would say orchestral, so as to focus the enjoyment on the essence inherent to the art of sounds, without the intervention of the text which, although it can enrich the score, sometimes distracts from the heart of the inspiration. However, the titles, almost always coinciding with a single word or a syntagm of strong texture, introduce the forms and functions of verbal language to recover, so to speak, the eclipse of words.

The tracks are precisely fixed by incisive and pregnant titles, not only in relation to the phonic and melodic structure, but also foreshadowing abysmal themes: life, death, destiny, freedom, hope, nature, love, memory, meaning, power... They are the same contents that dot the section dedicated to the maxims: for this reason it seemed appropriate, indeed natural to us to match some pieces with precise aphorisms, as a harmonic complement. A music therefore to listen to, but also to read with a multisensory approach that involves soul and intellect, aesthetic pleasure and reflection.

The Tower

Native Sound

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