Name: The Prism Of The Minute by Francesco Gregoretti
Duration: 5 min 1 s
Description: From the album "Solid Layers, Deafening Shapes" released on May 21st, 2016, by Toxo Records: http://www.toxorecords.com/

This is really outstanding and inspirational, with highly complex and nuanced sounds layers that are beautifully composed together -- mille grazie

composed and produced by Renato Grieco for the installation Ministry of Loneliness by Rebecca Moccia
curated by Chiara Nuzzi at ICA (Milan)
After its original multi-channel form in the installation space, and a special dolby version premiered at Studio Careof, Fondazione Prada, Ministry of Loneliness Theme is printed on disc thanks to the curatorial synergy of Paint it Black and CRIPTA747, on the occasion of Rebecca's exhibition The Loners (Turin).

Music by Renato Grieco
composed for the Ministry of Loneliness project by Rebecca Moccia

Voice: Sara Lazzaro
Additional Mix: Massimo Filippini
Mastering: Rashad Becker
Graphic Design: Nicolò Pellarin

IV. The Cliff

Interlude. The Office

III. The Room

Tape available directly from Imprec.com 

‘Murals For Immersion’ is Kenneth James Gibson’s 6th ambient outing under his given name, this time around collaborating with saxophonist Paul Carman who played and recorded with Frank Zappa in what Zappa called The Best Band You Never Heard In Your Life.

In late 2022, Gibson and Carman started getting together at Gibson’s Idyllwild studio, laying down tons of Saxophone sounds - layers of drones, melody lines, and off kilter noises. Gibson processed, sculpted, and arranged these sounds into full fledged pieces of music. Although the original idea was to make a 100% pure Saxophone based album, sub-heavy Moog Prodigy bass swells were added to fill out the lower end of the spectrum. From this process we give you the aptly titled ‘Murals For Immersion’.

About Paul Carman:
Paul is a legend in the California Jazz scene and a veteran of the 80’s Frank Zappa Band (in Frank's own words, "the best band you never heard in your life"). Rehearsing, touring, and recording with one of music's most influential groundbreakers inspired Carman to form his own ensembles and write his own original music. He has released six recordings over the past 35 years. Paul also played and recorded in bands such as ESP, Continuum, Quarteto Nuevo, and Dick Dale. Paul has a trio with bassist Marshall Hawkins (Miles Davis, Roberta Flack) and pianist Barnaby Finch (George Benson, Lee Ritnour). They play in his hometown Idyllwild, Ca. on a weekly basis to tourists who have no idea of the caliber of music that are about to witness.

About Kenneth James Gibson:
Currently floating between Idyllwild and Los Angeles , California, Kenneth James Gibson was born in Canada, but grew up in El Paso, Texas. He first learned to play guitar on his father’s acoustic and got his first 4-track recorder at age 19. Gibson founded the 1990s noise rock band Furry Things, which released most of its material on King Coffey’s (of the Butthole Surfers) Trance Syndicate / Touch and Go Records imprint.

Gibson has also released music that spans many genres under aliases such as Eight Frozen Modules, dubLoner, and Hiss & Buzz (with Jack Dangers of Meat Beat Manifesto). He founded the electronic music record label Adjunct Audio in early 2005 with friend Konstantin Gabbro, through Kompakt Records.

Gibson, along with Brian McBride of Stars of the Lid, started the band Bell Gardens in 2009. The two explored the realms of Americana, chamber pop, folk, and psychedelic pop. The band released 3 albums on Southern Records, Rocket Girl, and their own Failed Better. In 2014, under the alias Reverse Commuter, Gibson collaborated with Douglas McCarthy of Nitzer Ebb on the track Whispers In on his album Exposure. In April 2016, Gibson released his first full-length ambient album under his given name titled The Evening Falls on Kompakt and returned for a second album in March of 2018 titled In The Fields Of Nothing. In 2022 he followed this up with 2 more albums, Groundskeeping and Ssih Mountain on his own Meadows Heavy Recorders. 2023 saw the release of Further Translations - a remix LP featuring mixes by Brian McBride, Jack Dangers, Christopher Willits, Scanner, Chuck Johnson, Less Bells, and more. Gibson composes music for TV & film and has a sizable filmography on IMDb. 
credits

Kenneth James Gibson & Paul Carman - Finding New Language

Cassette/digital available from Imprec.com

“The Generous Law,” a new album by organist Jack Langdon and guitarist Anthony Vine, presents a glimpse of the inner voices and acoustical splendor of the Fisk Organ at Wellesley College, enlivened by the intuition of two improvisers. At the keyboards, Langdon crafts geometries of patiently braided lines and incisions, configuring the hues and shades of organ stops with an ear to the materiality of sound. Vine seizes on this, tuning his guitar to the organ and bringing his strings into alignment with the harmonics of the reeds and pipes, becoming an extension of the instrument, an organ stop of sorts. The guitar flows in and around Langdon’s angular counterpoint, like the shimmer between the divots of a jigsaw puzzle, illuminating its matrix. 

The tonal design of the Fisk Organ brings these interactions into vibrant relief through its quarter-comma meantone tuning and 17th c. Danish and German stops—giving organists access to sonorities only found in historic North European churches. Resurrecting a distant sonorous past echoes the design of Wellesley College's Houghton Chapel itself, a braiding of ecclesiastical motifs with no historical center, designed to impart a sense of old-world sacredness. Fisk’s ahistorical mélange yielded something extraordinary, not a cheap replica or period imitation, but an instrument of sui generis chroma and expressivity.

The musical idioverse of Langdon and Vine is defined less by interior imaginations, established style, and compositional formality, and more by the inexplicable pull of the organ, its guiding and grounding voice. In a letter to Ross Feld, Philip Guston speaks to this abstract, yet ubiquitous dynamic in artmaking with his notion of the “generous law,” the namesake for this collection:

“I think you are writing about the generous law that exists in art. A law which can never be given but only found anew each time in the making of the work. It is a law, too, which allows your forms (characters) to spin away, take off, as if they have their own lives to lead—unexpected too—as if you cannot completely control it all. I wonder why we seek this generous law as I call it. For we do not not know how it governs—and under what special conditions it comes into being. I don’t think we are permitted to know other than temporarily. A disappearance act. The only problem is how to keep away from the minds that close in and itch (God knows why) to define it.” -Philip Guston to Ross Feld

This music is not driven by concept, process, or system, but by the wanderlust of sound, time, and listening.

Jack Langdon & Anthony Vine - The Generous Law - 1  July 27, 2022 - 1pm

Gabriele Gasparotti’s second full length album, Tropismi, is a collection of mesmerizing compositions with masterful polyrhythmical textures and harmonies, strings, prepared piano, magnetic tape and field recordings. Gasparotti's unique style uses classical composition techniques such as counterpoint, canone inverso and serialism to create morphing expanding harmonies continuously.

Tropismi features stunning cellotronics by Benedetta Dazzi, cellist and sound designer with which Gasparotti established an intense collaboration during the past years. The album has been recorded on a full analog reel-to-reel setup and mastered by Rashad Becker at Clunk (Berlin).

“In my latest release I tried to seize the instant moment, the kairos or Greek kairological time: "shooting" the instant with an on-the-fly recording of the performance on magnetic tape. While recording, I noticed that in several instances the compositions grew beyond the idea I had set out with: for example, some unforeseen elements started to emerge due to the interaction of the sound with the surrounding space. Though they were seemingly uninfluential, they made the compositional idea gradually slide into unexpected territories, arousing certain sensations in me that would suggest a particular atmosphere, image or state of mind – a judgement that moved my way of manipulating the sound and at times suggesting even a possible title for a sonic idea that was meant to represent nothing but itself. 
This interaction between the sound and my mind reminded me of the biological phenomenon of tropism: “The turning of an organism, or part of it, in a particular direction in response to an external stimulus”. So, in this work I expressly entitled Tropismi, I investigated those movements which appear to me as being the engine of existence and of expansion of the Universe”.

Gabriele Gasparotti is a composer based in Italy who specializes in electroacoustic music on analog gear. A classical trained pianist and violist, Gasparotti studied composition and electronic music with Riccardo Sinigaglia and Giuseppe Giuliano at the Conservatorio Verdi in Milan and the West Coast synthesis with Todd Barton.

Gabriele Gasparotti - Anabasi - from Tropismi Tape

4ème chambre d’inquiétude - Trois-Quarts Taxi System invite imvisage (Avril 2024)

C / W | N
Dušica Cajlan -extended piano
Georg Wissel -augmented alto sax
Etienne Nillesen -extended snare drums

Concert from May, 04 2024 
recorded by GW at University of Cologne

C / W | N   at University of Cologne

Reducing distance between maccheroni and paranoia

From the album "Solid Layers, Deafening Shapes" released on May 21st, 2016, by Toxo Records: http://www.toxorecords.com/

The Prism Of The Minute

Francesco Gregoretti

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