playing from Topolò (I)

Antonio Della Marina

Antonio Della Marina is an Italian electronic composer and sound artist, who for several years has focused on working with sinusoids. Clearly influenced by the minimalist avant-garde of the American east coast in the sixties and seventies, his work exploits the physical properties of sounds and the use of microtonal tuning systems. Della Marina uses mathematical abstractions and custom built sound generators to shape his compositions which are offered in the form of sonorous sound sculptures. Since 1998 he has been active in sound art through concerts, lectures and sound installations, he has exposed his music in art galleries and international festivals all around Europe.

www.antoniodellamarina.com 

Antonio Della Marina III

playing from performing live from Radio Nabu Congul, Anaphoria (AAA international code)

Clocks and Clouds

Clocks and Clouds is comprised of core players and composers Kraig Grady and Terumi Narushima. Their totally acoustic performances feature specially retuned vibraphone and pump organ. Often they are joined by like-minded musicians to include other instruments of their ensemble, such as the Mesotonal (meaning 'between tones') Marimba and thundering bass Meru Bars. These unique instruments - with their pure harmonic tuning - explore the beauty of room resonances via ancient sacred scales and multi-dimensional geometries. It is not uncommon for an audience to experience the sensation of harmonics sweeping through space due to the way in which sound waves from the instruments interact with the environment.

http://www.anaphoria.com/clocksclouds.html 

Clocks And Clouds

playing from New York (USA)
Dafna Naphtali, Hans Tammen, Chuck Bettis

Dafna Naphtali is a sound-artist/improviser-composer who comes from a truly eclectic background of music-making. As a singer/guitarist/electronic musician she performs and composes using her custom Max/MSP/Jitter programs for sound processing of voice and other instruments that she has been writing since 1992. Besides her composing and improvised projects, she co-leads the digital chamber punk ensemble, What is it Like to be a Bat? with Kitty Brazelton. She's received commissions and awards from Brecht Forum, NY Foundation for the Arts, NY State Council on the Arts, etc. She regularly gives workshops and guest teaches at universities She has performed her work in high-profile venues around New York and in Europe, Israel, Russia.

Hans Tammen started playing guitar in 1972 in various rock bands. He also studied classical guitar for a while. But his unusual approach to the guitar began 1979 after hearing Sonny Sharrock's solo on the live version of Memphis Underground. Since then his sound-oriented and experimental approach has become an integral part of most of his performances. In the 1980s he mainly developed various jazz guitar styles, from Freddie Green's acoustic big band playing and jazz standards to rather Sharrock-ish interpretations of the Coltrane/Dolphy/Coleman heritage. But he also performed pieces by Cage and Logothetis with New Music ensembles, and he used sequencers, analog synthesizers and other electronic effects along with his guitar. In the 1990s he concentrated on his unique sounds and on collaborations with other art forms.

Chuck Bettis was raised in the fertile HarDCore soil, nourished within Baltimore's enigmatic avant garde gatherings, and currently blossoming in New York's downtown musical tribe. He has performed with John Zorn, Fred Frith, Jamie Saft, and Afrirampo to name a few, plus a long history of punk bands he was in (most notably the experimental punk band Meta-matics as well as the enigmatic All Scars). 

Dafna Naphtali, Hans Tammen, Chuck Bettis (US)

playing from Budapest (HU)
Én

I'm a Hungarian sound artist and radio producer, living in Budapest. I was one of the program editor of the illegal community radio of Budapest, Tilos Rádió (Forbidden Radio) from 1993–94 and then a member of the legal Tilos Rádió (Forbidden Radio) in 1995, where I edit programs for today's experimental, electroacoustic and underground music developments in my show No Wave. My compositions – which are often situated at the limit of hearing – draw on the results of concrete music, plunderphonics and sound-formation as well as sound art. I (én) choose sound samples from my own collection and environmental sounds which I recorded myself, and sounds made by myself on computer in order to compose, and so finally and successfully eliminates the unnecessary separations of composition and the preparation of music, the broadcast of music and musical performance.

Thanks to Zsolt Sores 

TBC2014-10