Pop songs shattered in non linearity. 
Composed between July 2013 and September 2014 in Treviso, IT and Vancouver, CA. 

Programming, composition and mastering by Ennio Mazzon. 
skritha.wordpress.com 

CeriseIcicles has been composed using a custom made digital platform called ARTS-LOI for live improvisation and audio reactive visuals. 
The system comprises two Max patches, an Audiomulch patch and a Processing script. 
The audio is generated in one of the Max patches and is further processed in Audiomulch. The other Max patch implements the audio-reactivity sending OSC messages to Processing that transpose in the visual domain the peculiar features of the audio analysed. 
The Processing script implements a “glitch machine” that digitally treats and overlap pictures taken in Shetland Islands, UK. 

CeriseIcicles is the result of a merging process of several improvisations that aimed to deconstruct and transfigure the “pop structures” of the original audio material by means of an extreme use of digital distortion and waveshaping. 

The overall concept of the audio-visual project is loosely inspired by Jed Martin’s work described in the latest page of Michel Houellebecq’s novel “The map and the territory”. 

“They sink and seem for an instant to put up a struggle, before being suffocated by the superimposed layers of plants. Than everything becomes calm. There remains only the grass swaying in the wind. The triumph of the vegetation is total.” [Michel Houllebecq]

credits

released 04 October 2014 

Visuals – excerpt: vimeo.com/90578298 
Software: skritha.files.wordpress.com/2011/12/av-setup.png 
Field recordings: Sile River (Treviso – IT, 2010-2012) 

/*=================== PRESS: 

Mazzon mixes recorded environments with live processing and manipulation in such a way as to force a rethink of how we participate in the world’s experience of itself — complexity and immediacy folded into one another. 
– Nathan Thomas / Fluid Radio 

CeresIcicles is a pop track that’s no longer pop. The sound sources began as pop, but were pulverized by Ennio Mazzon in a process akin to macerating a crate of fruit ~ crate included. Mazzon doesn’t want to be a pop star, but he’s interested in the effect of pop. 
– Richard Allen / A Closer Listen 

Qualcosa di inedito e impressionante nel suo impatto e nella sua naturale imponenza. 
– Raffaello Russo / Music won’t save you 

This release, in twenty minutes, shows more ideas and paths of development than most albums that last for three times this duration. It’s demanding to follow this musical development but it’s full of hidden treasures. Highly recommended. 
– Andrea Piran / Chain D.L.K. 

Un lavoro parcellizzato ma non per questo instabile, molteplice nelle sue venature, non lineare e sapientemente manipolato. 
– Giacomo Tomasetti / The New Noise 

Al solito il modus operandi di Mazzon ha un approccio scientifico/matematico/informatico alla materia e scolpisce bit con una formalità algoritmica sicuramente influenzata dal background professionale, ingegneria, dell’autore. Algoritmi però che sono lontani dal produrre output gelido e meramente numerico, impregnati come sono di un notevole carico emotivo che imprime visioni e sensazioni. 
– Alfio Castorina / Kathodik 

A surreal temporal progression and an ongoing questioning of space. 
– Infinite Grain 

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