Nov 152017
Feb 15, 2018 | Thu | 18年02月15日
8:00 PM | 20時00分


Mediterranean heritage mixed with the powerful approach of an avant rock band, passed through free improvisation, noise and a strong attitude to melody. This is MEDEA.
Based in Rome (Italy) Medea is a duo composed by Marco Colonna (woodwinds, cheap electronics) and Cristian Lombardi . Both in the political un-correct band Noise of Trouble , for the first time in a duo form, open the space with a huge sound project that can cover all spaces of musical language.
Marco Colonna is one of the best jazz and free improvisation musician of the Italian scene. He has worked with Agusti Fernandez, Evan Parker, Zlatko Kaucic, Danilo Gallo, Silvia Bolognesi, Fabrizio Spera, Antonello Salis (and many others) , Cristian Lombardi is a drummer of the underground punk scene of Latina, leader of we don’t care about names and drummer of the surf band Alvaro Negro.

Perlin Noise

Perlin Noise is an algorithm which allows computer graphics artists to represent the complexity of natural phenomena in visual effects. It is often used to make computer-generated visual elements – such as object surfaces, fire, smoke, or clouds – appear more natural, by imitating the controlled random appearance of textures in nature.

THE PERLIN NOISE (QUINTET) translates this idea into acoustic terms. The music, written by Alessandro Vicard, embraces the elements of fire, fluid, wind and metals. The quintet combines, it creates transitions. While alternating between structured composition and free improvisation, The Perlin Noise is weaving organic textures from pseudo barock music morphing into freejazz, jumping to techno-Romitelli and picking up a funky Ligeti innuendo on the way.

Die Bezeichnung Perlin noise stammt ursprünglich aus dem visual-arts-Kontext und bezieht sich auf einen Algorithmus, mit dem sich die Komplexität von Naturphänomenen visuell darstellen lässt. Computergenerierte Grafik wirkt dadurch organischer, da kontrollierte Zufallserscheinungen von natürlichen Strukturen imitiert werden können.

Im Gegensatz zu dem aeusserst nützlichen namensgebenden Algorithmus behauptet THE PERLIN NOISE (QUINTET) von sich selbst, keine Funktion zu erfüllen. Wir unterstellen mindestens Selbstzweck, erahnen aber tatsächlich Genuss auf höchster musikalischer Ebene.

Alessandro Vicards Kompositionen fuer THE PERLIN NOISE (QUINTET) wechseln zwischen vorgegebener Strukturiertheit und freier Improvisation. Pseudo-Barock verwandelt sich hierbei in Freejazz und geht dann in Techno-Romitelli über, während zwischendurch ein funkiges Ligeti-Zitat eingewoben wird.

Nov 012017
Feb 01, 2018 | Thu | 18年02月01日
8:00 PM | 20時00分


Von wegen mikro. Im Borderland (mikroton cd 53) von CILANTRO erwarten einen hypersome Raupen, Grillen, groß wie Ochsenfrösche, Walfische auf Rädern, Gray-cap ‘Mold’, wamperte Figuren, die Big Dom oder Prince Tubby(‘Prinz Wompe’) heißen könnten. Weird Sonic Fiction, wie “Melancholie des Widerstand” (aka “Die Werckmeisterschen Harmonien”), “City of Saints and Madmen” oder “Dunkle Stadt Bohane”, wahrhaftig vertont. Angélica Castelló & Billy Roisz reiseführen nach ‘Smoketown’ (nach Ambergris…) mit Rauchspuren von Paetzold-Blockflöte, Ukulele, E-Bass, Organ, Computer, Tapes, TVSamples und Electronics, ohne Scheu, als narrativ und phantastisch (miss)-verstanden zu werden, wenn sie da wummern, brausen und krimskramsen, überzogen mit einem knisternden Geräuschfilm. Aber auch nostalgischer und hauntologischer Patina, wie bei ‘Calypsoblues’ und ‘Lullaby for a Ghost’, wo das Blau und Immergrün zu Evergrey verrauscht, verdüstert und verflimmert sind.
(Review von Rigobert Dittmann, Bad Alchemy)

Ottone Pesante

Pesante is an instrumental trio composed by trumpet, trombone and drums that plays “Heavy Metal”.
“We are a really heavy brass band and we use effects on brass (distorions, octavers…) to make it heavier. Our music is very fast and it’s a challenge for brass instruments players, but sometimes it goes in the opposite direction becoming very very slow.
It’s something between extreme metal, jazzcore, brass bands.”

One year after they released their first EP, which was the first step, Ottone Pesante (Heavy Brass) release the first album. That confirms that was not a joke, neither a divertissement.
Trumpet, trombone and drums can be together really heavy. Ottone Pesante makes a step beyond the traditional idea of Extreme Metal, based on the sound of Bass and Guitar. They do this after 90 gigs in the last year, playing all around Italy and in Europe.
“Brassphemy set in stone” is the evolution of Ottone Pesante. Music has become heavier, more extreme and more technical but also melodic in the same time. The album is very fast and brutal, really impressive especially for brass players. “Trombstone” is the only exception, a doom track that lets the listener breath.
“Brutal” is the first song, symbol of the Heavy Brass Metal. “Nights Blood” is a Melodic Death Metal track inspired by the Swedish metal band “Dissection”. “Bone Crushing” is the chosen track for the video, recorded on high mountains. The clip shows how physical Ottone Pesante music is.
“Torture machine tool” is inspired by Meshuggah, heavy riffs and a cutting trumpet solo make this track very special. “Copper Sulphate” is the fastest song, a grind song that make you feel in the middle of the mosh pit. The last track “Apocalips”, is a 4 minutes ride that continue to hurt ears and brain.
The album was recorded live, during 4 days between May and June 2016, in the only moment that Ottone Pesante tour stopped.


Aquifer is a solo electronic performance by Tomer Baruch in which he explores the possibility of a made-up nostalgia. By live sampling and processing toys and vintage organs, the music is retaining a hint of familiarity in a futuristic soundscape; shifting from naive to abstract and vice-versa; projecting the illusion of a longing to something that never were…