Date / Venue:
22 September 2016, ISAO Festival XXIII @ ‘San Pietro in Vincoli’ Ex-Cemetery, Turin, Italy
Info / Links:
Luca Garino (Italy, 1978) is an Italian composer active since 1996 in the fields of electronic and concrete music. He started as self-taught and then continues his research at computer music at LaSDIM (Laboratorio per la sperimentazione e la didattica dell’informatica musicale). [via]
Luca Garino is a Turin-based sound-artist which is also a tireless supporter and coagulator for the most experimental sides of music, label-manager [see la délirante], and also curator of many live gigs and performances in town. His main musical projects, other than the solo activity, were Blind Beast, Malaria POP [both alongside Andrea Marini that we already hosted this summer with RECORDING#9], the unforgettable how much wood would a woodchuck chuck if a woodchuck could chuck wood?, Psalm’n’Locker, staged live together with Rella The Woodcutter, and the long defunct AHV. The recording we share with you today is a 1-hour-long DJset developing an ever-boring mixture of noise, musique concrète, sound poetry and field recordings.
“ISAO Festival reserves an entire night to pay tribute to Philip K. Dick, one of the most influential writers of the last century. The night will open up with the theatre act “Sempre la belva si scatena per paura”, by Giordano V. Amato, featuring Diego Coscia, Giulia Marchiaro, Boban Pesov, Giovanna Stella, Lorenzo Tolusso, and freely inspired by P.K. Dick opera omnia. Following up, the Canadian cello player Julia Kent will play her “Flow My Tears” concert, named after the John Dowland’s composition that is known to be loved by P.K.Dick. The evening will end with the audio – video experience in which Luca Garino will provide his sonorous comment to a sequence of short excerpts out of PKD-inspired movies such as Blade Runner, A Scanner Darkly, Minority Report, and many others“. [http://www.isaofestival.it/]
- Luca Garino on Andrea Penso, Donato Epiro and Gaspare Sammartano‘s Canti Magnetici: The Woodcarver [Single-sided C22]: an acousmatic track based on field recordings mainly collected on the mountains of Northern Italy during two different phases of a wood harvest work. please close your eyes, just close them. “The Woodcarver” is his first release under his own name, and would surely appear in our favourite-2016-records list;
- how much wood would a woodchuck chuck if a woodchuck could chuck wood? – Boring Machines: “[..] is a trio from Turin, Italy comprised of Luca Garinor, Coccolo and Iside. They play guitars, bass, tapes and reverbs and throw in some voices. They love wood stumps, that’s where the name came from. Their music is pitch black layers of drones and male vocals with cristalline guitar arpeggios and otherwordly female vocals hovering in the acoustic space. [..] The self titled debut LP of HMWWAWCIAWCCW? is composed of six new tracks, the music is slow, distorted, rich in reverbs and low frequencies, suggesting deep and dark landscapes. It’s surely devilish and unsettling at first, but the melodies hidden in the drones tangle are simple and refreshing”;
- PSALM’N’LOCKER – Op. 01 Music For Dreamachine on Yerevan Tapes: “Op. 01 Music For Dreamachine [..] is one 28-minute piece entirely built upon beats, also know as interferences between two sounds of slightly different frequencies. This composition, inspired by the Brion Gysin’s Dreamachine, revolves around the stroboscopic 60Hz frequency and his sinusoidal sounds – both digital and analogic – fluctuate around that frequency. The sound undergoes reinforcements and weakenings according as the waves are dissonant or concordant. The phenomenon has been electroacoustically recreated with two not perfectly tuned air organs that could alter the very same notes. “
- see take#6: Luchino [DJSET] @MUSICALZOO2015
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PAYNOMINDTOUS is a non-profit organization registered in December 2018, operating since late 2015 as a webzine and media website. In early 2017, we started our own event series in Turin, IT focused on arts, experimental, and dancefloor-oriented music. We reject every clumsy invocation to “the Future” meant as the signifier for capitalistic “progress” and “innovation”, fully embracing the Present instead; we renounce any reckless and ultimately arbitrary division between “high” and “low”, respectable and not respectable, “mind” and “body”; we support and invite musicians, artists, and performers having diverse backgrounds and expressing themselves via variegated artistic practices.