{"id":7853,"date":"2020-12-18T11:22:22","date_gmt":"2020-12-18T10:22:22","guid":{"rendered":"https:\/\/digipur.it\/?p=7853"},"modified":"2020-12-18T11:22:22","modified_gmt":"2020-12-18T10:22:22","slug":"electronic-compilation-bolognasound-vol-1-is-out-today-by-new-experimental-music-label-slowth-records","status":"publish","type":"post","link":"https:\/\/digipur.it\/en\/electronic-compilation-bolognasound-vol-1-is-out-today-by-new-experimental-music-label-slowth-records\/","title":{"rendered":"Electronic compilation “BolognaSound Vol. 1” is out today by new experimental music label Slowth Records"},"content":{"rendered":"

Slowth Records<\/strong>\u00a0is an independent Italian record label founded in 2020 in Bologna by musicians and composers Mattia Loris Siboni, Matteo Pastorello and Niccol\u00f2 Salvi.\u00a0Their artistic activity develops in various creative\u00a0fields, including that of improvisation also developed as members of Minus – Collettivo d\u2019Improvvisazione.\u00a0Slowth Records deals with spreading and promoting\u00a0experimental music<\/strong>\u00a0and is born from the need to provide resonance to new musical expressions through multiple channels of transmission.\u00a0The label is ready to welcome any musician who is dedicated to personal or group musical research, through improvisation, acousmatic composition, electroacoustics, video art, traditional, vocal or instrumental composition and any other genre difficult to categorize. All this is pursued with distribution on digital channels and hybrid communication, made up of traditional tools and social media. The sloth, chosen as key figure for the label logo, does not embody the spirit of our very fast times but firmly opposes it inviting people to listen very carefully. That’s why the name of the label is a simple pun between the words\u00a0“sloth” and “slow”.<\/p>\n

BolognaSound Vol. 1<\/strong>\u00a0<\/em>is the first release by Slowth Records, available on all digital platforms from today\u00a018 December 2020. It’s a compilation of five unreleased tracks that sheds light on the new experimental electronic scene of the city of Bologna.\u00a0The musicians involved are the electronic duo Njordzitrone<\/strong>, the composer, musician and performer Federico Pipia<\/strong>, the composer, improviser and DJ Daniele Carcassi<\/strong>, the\u00a0musician, composer and visual artist Marco Menditto<\/strong> and the musician, composer and improviser Simone Faraci<\/strong>.<\/p>\n

But what exactly is this\u00a0BolognaSound<\/em>?\u00a0The definition was coined by Francesco Giomi, composer and sound director, collaborator of Luciano Berio among others, director of the historic Tempo Reale music research, production and teaching center in Florence and professor of Electroacoustic Music Composition at the Bologna Conservatory of Music. Here is the presentation he wrote himself: \u00abBologna is today a city of great musical vitality, especially in sound research, electronic experimentation, and all those expressions that pass conventional canons.\u00a0BolognaSound<\/em>\u00a0has developed and spread through this fertile ground of city culture, but it has been generated starting from the academic field: a fundamental role in the last fifteen years has been played by the School of Electronic Music of Conservatory \u201cG. B. Martini\u201d, able to build an idea of music made of depth, practice, openness and network of relationships.\u00a0BolognaSound<\/em>, however, is not a current or an artistic collective, but it’s a common way of understanding musical thought, despite the diversity of expressions, qualities and approaches. If it were possible to make a sort of manifesto, it can be summarized in five points:\u00a0BolognaSound\u00a0<\/em>draws from the best\u00a0Anglo-French acousmatic tradition<\/strong>\u00a0(that one of Parmegiani, Smalley and Wishart), obtaining the possibility of control and morphological construction of the sound, as well as the evocative and investigative capacities about space; it incorporates germs from\u00a0techno and noise<\/strong>\u00a0expressions, recognizing their value both in the cultural sphere and in the purely sonological one; it constantly updates its traits of\u00a0energy, power and freshness<\/strong>\u00a0both in the context of recorded music and live music; it synthesizes the relationship between\u00a0formal structure and improvisation<\/strong>\u00a0thanks to a historical-analytical awareness and to a management of making music free of superficial attitudes; it\u00a0looks at an\u00a0international approach<\/strong>\u00a0comparing itself with leading experiences in extra-Italian research. Thanks to\u00a0all these characteristics,\u00a0BolognaSound<\/em>\u00a0joins many new ferments of electronic music that is emerging in Europe, Canada, Asia and that, in this moment of static affirmation of mainstream languages, represent an element of\u00a0great interest and hope for people involved in musical research. This record is a significant example of\u00a0BolognaSound<\/em>, gathering a plurality of interesting creative artists, from the most mature composers (such as Faraci and Carcassi) to young musicians whose musical energy seems to be just beginning (Pipia and Menditto), passing through communion\u00a0of expressions that only Njordzitrone seems to embody in a perfect way\u00bb.<\/p>\n