December 17th 2010, Sidi Bouzid, Tunisia: Mohammed Buoazizi sets himself on fire in front of the Governorate building.
In the heart of the North African winter that flame lights up the "Arab Spring". Images, sounds, emotions: an unstoppable flow of clandestine emissions spreads rapidly through the ether and hits the West like a storm of "black sand". Here is the indistinct magma of sounds, noises, voices and pulsations from which "Black Sand" draws vital longing.
In the piece, the different sound sources used - guitar, organ, field recordings - are isolated, deconstructed and altered through various treatments-digital (laptop) and analogue (tape delay)- in order to highlight, in the compositional act still, the shift.
The overlapping and consequent recomposition into a "natural harmonic whole" is achieved thanks to the slow flow of the coils.
A process that is truly not new in musical experimentation - the sonic isolationism scene; Jenssen and the Northern European school - but which well translates the sense of making electronic music: starting from a sound fragment and then "losing it" through the manipulation process and its organization.
A sound is a truth: the more sounds the more truth.
Stereophony forces a decision: what to donate to listening?
In remixing the polarities through the use of magnetic tapes, the unexpected discovery of a "sound winter" hidden inside 800 Hz:
“Black Sand” thus finds its final form additively.
credits
released June 15, 2013
First Prize in Experimental Music Category at PIARS -Sonic Arts Award -2012.
Jury composed by David Toop, Gunter Muller, Rhodri Davies
“Black Sand” was also transimetted at the "Sweet Thunder Music Festival" in San Francisco on April 2014 curated byTom Erbe, one of the most sought after and respected sound engineers for contemporary music and "SoundHack" softwares programmer
Organ, Guitar, Field recordings, Tape Echo, Noise performed by:
Attilio Novellino, Gabriele Panico, Saverio Rosi.
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