INTERSTITIAL SPACES
51’47”

FABIO PERLETTA, IT

CD + DIGITAL RELEASE
CATALOGUE: F90111
EDITION: 300 COPIES
RELEASED FEBRUARY 10, 2014

1. Untitled # 1
2. Untitled # 2

Interstitial Spaces (F90111) is the follow-up to Fabio Perletta’s 2013 CD Field: Atom(s) Entropy. With this new work Perletta investigates the physical phenomenon of the “Interstitial Space” which is the point in a crystal lattice where the perfection of the atomic structure is broken or suspended resulting in open spaces for unexpected resonances. 

After his investigations of entropy with Field: Atom(s) Entropy, here the underlying inspiration is anomalies within atomic structure such as vacuums and alien particles deep inside matter. The album consists of two pieces, each developing as an exploration of the most minimal and hidden particles of sound. Inspired by Yoctometer, which is measure of length that is equal to 10^-24 of a meter (0.000000000000000000000001 m), the project delves into the relationship between visible and invisible. Both pieces grow from silences and rarefied molecules of sound, increasingly thickening into combinations of microscopic events and delicate drones. 

Composed entirely by using a self built software called Seijaku (静寂, Japanese: silence), the album draws upon human perception by using almost imperceptible frequencies and hushed tones in order to investigate a new perspective into the nexus of science and music through the use of technology.

Intended to be experienced at low volume in a quiet room.

[unex_ce_button id="content_7zajau9lv,column_content_x0wyp9w9o" button_text_color="#ffffff" button_font="semibold" button_font_size="15px" button_width="full_width" button_alignment="center" button_text_spacing="2px" button_bg_color="#dadfe1" button_padding="15px 60px 15px 60px" button_border_width="2px" button_border_color="#dadfe1" button_border_radius="2px" button_text_hover_color="#dadfe1" button_text_spacing_hover="2px" button_bg_hover_color="#ffffff" button_border_hover_color="#dadfe1" button_link="https://901editions.bandcamp.com/album/interstitial-spaces" button_link_type="url" button_link_target="_blank" has_container="" in_column="1"]BANDCAMP[/ce_button]
[unex_ce_button id="content_7zajau9lv,column_content_khjhep9gk" button_text_color="#ffffff" button_font="semibold" button_font_size="15px" button_width="full_width" button_alignment="center" button_text_spacing="2px" button_bg_color="#dadfe1" button_padding="15px 60px 15px 60px" button_border_width="2px" button_border_color="#dadfe1" button_border_radius="2px" button_text_hover_color="#dadfe1" button_text_spacing_hover="2px" button_bg_hover_color="#ffffff" button_border_hover_color="#dadfe1" button_link="https://open.spotify.com/album/3ipU7Nj9Eqk7TU8rukYeHo" button_link_type="url" button_link_target="_blank" has_container="" in_column="1"]SPOTIFY[/ce_button]
[unex_ce_button id="content_7zajau9lv,column_content_34acrjw9z" button_text_color="#ffffff" button_font="semibold" button_font_size="15px" button_width="full_width" button_alignment="center" button_text_spacing="2px" button_bg_color="#dadfe1" button_padding="15px 60px 15px 60px" button_border_width="2px" button_border_color="#dadfe1" button_border_radius="2px" button_text_hover_color="#dadfe1" button_text_spacing_hover="2px" button_bg_hover_color="#ffffff" button_border_hover_color="#dadfe1" button_link="https://itunes.apple.com/album/interstitial-spaces/1113486872" button_link_type="url" button_link_target="_blank" has_container="" in_column="1"]iTUNES[/ce_button]

ALOÏS YANG (TW) [ ➔ ]

Aloïs Yang, born in 1986 Dax, France, raised in Taiwan, now based in Prague, is a media artist, interaction designer and experimental musician who produces work that explores the relation and interaction between people, sound, and the external world. His work is influenced both by scientific reference and human imperfection of understanding the nature. 

He overcomes the separation of art forms and genres with an integrated creative approach. He uses a wide range of media, from interactive installation to speculative design prototype and live audiovisual performance.

Interaction in Yang’s work takes place not just in objective reality, but also inside of intimate experience and imaginative projection. These includes traveling among such varied subjects as brain function, facial expression, micro/macro realities, virtual time-space, starlight, apocalypse, and the beginning of the Universe.

Statement

My work investigates the perception of time and space on both “outer” physical world and “inner” metaphysical levels of awareness – as a manifestation of how we contextualise the overlapping realities in between body and mind, objective explanation and subjective projection, analogue and digital, certainty and unknown.

I aim to engage viewer’s sensation and comprehension to the given moment of reality, portrayed by experiential phenomena and existential ideas – as an invitation to an incomplete journey waiting to be explored by active, participatory, intimate interactions that incorporate individual’s consciousness as the piece itself.

I am interested in the crossing line between the general explanation/application provided by science and technology, and how we actually grasp and make use of it on personal perspective. By combining conclusive theory and hard scientific data with integrated technological approaches, I aim to reveal the information in tangible and playable art forms, which create open spaces for imagination, speculation, and self-reflection.

I use sound as the primary material of my work, also as the communicational medium that is inter-connected with data of context, visual, lighting, and human interaction. Through various sensor and real time computations, viewer’s involvement is always at the centre of the piece, where unique and unrepeatable contents are generated – as an organic sonic environment that evolves through time.

MATTEO MEDA / ONDAROCK

Basta dare un’occhiata al nome della sua etichetta per comprendere l’approccio di Fabio Perletta alla sound art. Uno scienziato del suono in senso stretto, visionario nell’utilizzarlo come strumento d’indagine concettuale e stimolazione percettiva piuttosto che come mezzo di evocazione o di illustrazione, nel solco della tradizione inaugurata dal primissimo Ryoji Ikeda. A dire il vero, in alcuni lavori l’idea di evocare scenari può essere ritrovata persino nelle geometrie metafisiche divenute negli anni trademark dell’artista abruzzese: luoghi però del tutto inusuali e quasi sempre appartenenti a un “mondo parallelo”, sconosciuto alla percezione razionale e cosciente.

In questa casistica rientra anche “Interstitial Spaces”, il cui titolo è già sufficiente a suggerire quale sia l’ambiente descritto e affrontato da Perletta attraverso il suono. Gli spazi interstiziali, ovvero le distanze di circa un quadrilionesimo di metro che separano una cellula di un tessuto umano da un’altra, sono i luoghi in cui il disco si propone di addentrarsi attraverso due lunghe digressioni costituite, come naturale, da suoni che talvolta faticano a raggiungere l’udito. Frequenze ridotte ai minimi termini, particelle elettroniche in viaggio autonomo, cellule di suono che si agglomerano progressivamente dando vita a impercettibili interazioni.

La prima delle due suite senza titolo che compongono la tracklist vaga per dieci minuti in un sostanziale vuoto perpetuo: il silenzio è rotto solo da intangibili variazioni dello spazio circostante, difficilmente ascrivibili anche solo all’idea di suono. Verso i dieci minuti una frequenza più stabile si insedia evolvendosi progressivamente in forma di un drone, la cui natura rimane amorfa. La prima cellula si dissolve lasciando spazio a una nuova parentesi di infinitesimi di suono prima e alla comparsa di un secondo drone: solo nei dieci minuti finali i due flussi iniziano a intrecciarsi e scambiarsi elementi, conferendo un abbozzo di forma all’intera composizione.

Leggermente più breve, la seconda suite ripropone una struttura simile: stavolta, però, la formazione di un unico flusso è anticipata al decimo minuto e la sua evoluzione in un tempo dilatato nell’infinitesimo interstiziale è seguita per tutto il resto del pezzo, da prospettive e angolazioni sempre diverse. Esattamente come il successivo “Mirror Neurons” di quest’anno, elaborato assieme a un’altra esponente in musica del minimalismo estremo come France Jobin, “Interstitial Spaces” è un gioiello che dimostra una volta di più l’abilità di Perletta a trasformare il suono in materia d’indagine, per sé stesso e per quei luoghi che la percezione cosciente non è in grado di raggiungere. Magistrale.

AURELIO CIANCIOTTA / NEURAL

The first five minutes of the 28-minute-long first track pass in almost absolute silence. We found it necessary to crank up the volume on the mixer and re-listen from the beginning to have any chance of perceiving the weak audio emergencies emanating from the speakers. Upon reading the liner notes, however, we received instructions to listen to the record at low volume in a silent room. Following the advice we found ourselves paying more attention to the many nuances of Interstitial Spaces, the sequel to Field: Atom(s) Entropy. In this new work, Fabio Perletta focuses on the phenomenon of atom entropy: what happens in the void, in the gaps between structured matter. The recordings created in Roseto degli Abruzzi’s studio are unusual and very refined, and have been fashioned into two different compositions. Both involve the development and exploration of the smallest and most hidden particles. The rough sounding frequencies were generated with help from some home-made software called Seijaku (the silence). The second track (both were recorded between May and October 2013) includes samples by Alessandro Romano, captured at the Within 01 Festival in September 2012 at the Ex Convento di Colli Del Tronto. The performance consisted of the simultaneous actions of different musicians, each playing in their own space, controlling their own speakers from different locations relative to the audience. Perletta’s work is very congruent and structured, full of its own inner grace. From this point of view, it follows the guidelines set out by Farmacia901, a label we highly recommend. A lot of experimenters have worked for this label: Richard Chartier, Yann Novak, Erik Ursich, and a long list of Italian artists as well.

FABRIZIO GARAU / THE NEW NOISE

Spesso su queste pagine si gioca coi contrasti: chi legge potrebbe finire per domandarsi se siano più pericolosi i Bloodyminded, i Cripple Bastards o Fabio Perletta, abruzzese classe 1984, cervello dell’etichetta Farmacia901. Forse, per qualcuno, non c’è nulla di più oltraggioso e inaccettabile del silenzio. Forse, come magari nel caso in questione, per qualcun altro è necessario concentrarsi fino allo sfinimento su pochi e precisi dettagli: una sfumatura ben identificabile di grigio o di nero o di bianco e uno spazio interstiziale. Il disco, al netto di considerazioni scientifiche che non fingerò di comprendere, è stato realizzato con un software creato ad hoc e battezzato Seijaku (che in giapponese dovrebbe voler dire appunto “silenzio”). Non mi sembra né López, né Köner: alcune parti potrebbero far venire in mente qualcosa con Un Peu De Neige Salie di Bernhard Günter, più che con il lavoro degli altri maestri in rarefazioni che ho incontrato lungo la strada. Rispetto al disco di Günter, Interstitial Spaces risulta ulteriormente impalpabile, ma più morbido, grazie ad alcune linee diafane di synth (viste le premesse, potrebbe essere chissà quale suono di partenza trasfigurato mediante laptop). Come Riparbelli cerca – attraverso la manipolazione di onde corte – di restituirci un mondo invisibile e di farci riflettere sulla percezione, così fa Perletta, senza però quasi alcun tipo di racconto (Crowley, cristianesimo, etruschi…) e di coloritura (nera). Se ci pensiamo un attimo, è davvero un pericoloso estremista.

NATHAN THOMAS / FLUID RADIO

Sound and multimedia artist Fabio Perletta creates sparse, highly reduced and refined ambient music, often deploying the barest minimum of sonic means to explore the intersection between physics, psychology and perception. He occupies similar stylistic territory as Richard Chartier and Yann Novak, artists who have also appeared on the Farmacia901 label he curates. His new release “Interstitial Spaces” starts off with tiny drip-drops of high-frequency acoustic rain, which eventually gather to form a fine, misty drizzle of the sort familiar to inhabitants of Europe’s northern regions. Later on the lush pads typically associated with ambient electronica make a very gentle, low-key appearance, while the high-frequency flutter takes on a more avian chirruping character.

In a sense, the album could be understood as drawing from the modernist canon of superlatives (‘fastest’, ‘strongest’, ‘smallest’, etc.), with ‘faintest’ and ‘quietest’ being the anchoring ideas. Depending on the perspective from which one listens, this can be heard either as an affirmation of a self who judges these qualities and in reference to whom such judgements are made, or as the dissolution of that same self at the threshold of perception, the true substance of the music being withheld for some other. Personally I would rather set such issues aside and think instead about the picture the music offers of the world: sometimes familiar and intelligible, often not, full of energies and movements at different scales, not always concerned with whether I hear or not. My perception of light drizzle differs from my perception of weather systems, but both are aesthetic, in a way.

Despite pushing towards thresholds, “Interstitial Spaces” does not dispense with dynamics, albeit ranging from piano pianissimo to piano rather than the usual mezzo-forte to fortissimo. Although the two pieces each have their own structure, obvious beginning-middle-end narratives are avoided, and I found it hard to distinguish the join between the two: again, much like the world in general. In fact, the more I listened, the more engaging I found the album to be. While some ambient works can become tiresome once the novelty of their effect wears off, in this case I found myself wanting to listen more, and this seemed as much to do with the intricacies of how the music is crafted as with the sense of something withheld beyond a liminal threshold. For such a quiet album, “Interstitial Spaces” has an awful lot to say about how to make great ambient electronic music.

MARCO FERRETTI / WITCLUB

The extension of space: infinite. Two tracks to capture the nuances that intersect between the points that define it. In the first one, electrical micro-vibrations overlap themselves for minutes but, suddenly, drops the drone: inexorable. The atmosphere becomes murky. In the distance, other sounds accompany the unfolding of the semi-acoustic storm to propagate an unexpected glow in its folds. A melodic line defines and shape them with sweetness. It’s the paralysis of the psyche. Images of sunrises seen in past lives are reconstructed in the mind. Cool and warm colors are combined. For a new ecstasy of gold. The second track reserves, however, a more lively background hum, without sacrificing some sonic trimming. The pace of sounds fragmented. There is no stasis, only anxiety at times. While the catatonic shock is in progress, never late comes the care. A radiant injection of notes reassures the entire body. In its depths, there is no anxiety or pain, but freedom to cross the border that, geometrically, also consists of only three points. You can go beyond their reach. There is no limit to the propagation of sound. The dream factory is called Farmacia901. The album “Interstitial Spaces” (2014). Fabio Perletta the author.

PATRICIO BADARACCO / HAWÁI

Quedando más direcciones que tomar dentro de esta serie del cual solo conocemos su primera fracción, este año además Fabio lanza una nueva edición que recoge parte de sus investigaciones. El movimiento relativo de su obra anterior se vuelve estabilidad en su siguiente paso. “Interstitial Spaces” supone una estridencia oculta bajo una densa nube de electricidad, un extenso trabajo donde el desplazamiento de partículas adquiere formas intangibles y donde cada uno de los postulados que dirigen Farmacia901 cobran especial significado. Esto es algo que también está muy presente en “Field: Atom(s) Entropy”, pero acá resulta evidente. Electrónica de una nitidez inquebrantable que emana de un centro de sonidos de pureza luminosa. Lo que puede decirse, lo que dijimos sobre las dos publicaciones anteriores de la marca italiana ahora es profundizado al extremo de lo perceptible, llevando la estética del silencio a una expresión casi absoluta. El diseño, del mismo Fabio, impecable: portada de perfecto blanco con los datos impresos en colores idénticos, excepto una variación leve –Pantone 7541 C, Cool Gray 8 C y Black–, en rigurosa Helvetica. “Con este nuevo trabajo Perletta investiga en el fenómeno físico del ‘Espacio Intersticial’, que es el punto en una red cristalina donde la perfección de la estructura atómica es rota o suspendida resultando en espacios abiertos para resonancias inesperadas… Aquí la inspiración subyacente son las anomalías dentro de una estructura atómica como las partículas virtuales y alienígenas dentro de la materia… Inspirado por el yoctómetro, el cual es la medida de longitud equivalente a la cuatrillonésima parte de un metro (0.000000000000000000000001 m), el proyecto ahonda en las relaciones entre lo visible e invisible”. Ciencia como música, música como ciencia. El eco del vacío reduce las notas a un esencialismo diáfano, una obra especialmente intensa dentro de su inmovilidad. Obviamente, la ausencia de murmullo visible es imprescindible para poder apreciar los detalles que afloran de forma gradual. Una vez que la no-presencia exterior aparece –“Intended to be experienced at low volume in a quiet room”, otra vez, ahora sobre todo necesario– es posible adentrarse en su compleja red de moléculas nanométricas y en la heterogénea homogeneidad que yace bajo la inactividad. Dos extensas piezas que delinean un trayecto aparentemente rectilíneo, realmente curvo o, al menos, interrumpido, aunque sea de manera ligera. Igualmente grabado en Roseto degli Abruzzi, entre mayo y octubre de 2013, este trabajo destaca por sobre lo obvio, concentrándose en eventos minúsculos que crean fracciones de sonido dentro de una linealidad prolongada. “Compuesto enteramente utilizando un software auto-construido llamado Seijaku (en japonés 静寂: silencio), el álbum gira en torno a la percepción humana usando frecuencias casi imperceptibles y tonos callados con el fin de investigar sobre una nueva perspectiva dentro del nexo de ciencia y música a través del uso de tecnología”. Desde la nada surgen inestabilidades dentro de un trayecto estable, pequeñas desviaciones de la melodía translúcida unidireccional. “Untitled” es casi media hora en la cual el silencio es interrumpido por irregularidades que conservan el carácter inmaculado de la superficie sobre la cual se asientan. Tienen la apariencia de ser nada más que destellos ínfimos de luz sobre un fondo negro. La limpieza del sonido contrasta con la oscuridad latente, oculta bajo su aspecto impasible, una amplia materia obscura reflectante que más tarde abandonará para derivar en un brillo de suave incandescencia. “Untitled”, con samples grabados en vivo, como parte del Festival Within 01, en septiembre 13 de 2012 en Ex Convento dei Cappuccini en Colli Del Tronto, Italia, comienza con manchas angulares que generan un campo de sonidos divididos, mismos que irán bifurcándose en una estela espaciosa de tonalidades inmateriales contenidas. Permanencia y quietud, una constante de notas débiles. Distintos matices para una misma gradación: la atomización del color de “Field: Atom(s) Entropy”, el vacío fragmentado de “Interstitial Spaces”. La estridencia imperceptible de Fabio Perletta genera hermosos paisajes dentro de su estabilidad transparente y su estética del silencio.

MIGUEL ISAZA / INFINITE GRAIN

Sonic space is such a boundless concept. One just need to listen to the interaction of just small grains and subtle frequencies of auditory compounds in order to create a vast, endless universe of possibilities over silence, being able of inhabiting a place where matter is never visible, only sonic, and infinite. That’s what Interstitial Spaces, by Fabio Perletta says to my hears. The conceptual background of the piece allows to define a very direct and calculated relationship between modern physics and perception, between knowledge and aesthetics, evident in the use of almost silent but yet diverse particles of sound that –during the activity of listening– create a path of scientific exploration from the experience on its purity, in this case opening doors to an adventure over contemplative sonic landscapes built from the “unexpected” symphony that is heard when an “atomic structure is broken or suspended”.

PAOLO MICELI / KOMAKINO 'ZINE

The Emperor’s new clothes are made of sound, our weaver is Fabio Perletta. He’s crafted an invisible tunic, made of nearly imperceptible sounds, going from humming drones to roger beep, a one-way communication to your brain.

Follow-up to his CD Field: Atom(s) Entropy, this new record tickles the annihilation, from the algid packaging to the sound form: sometimes my ears hurt me when playing this. I am sure he’s tricking with hidden frequencies of human body. And here and there, I forget I have this disc on, such it goes silently in the background: not a coincidence, since Interstitial spaces has been “composed entirely by using a self built software called Seijaku (静寂, Japanese: silence)”.

Enjoy the silence.

LA CHRONIQUOTHÈQUE

Si l’on a déjà abordé sur ce site le cas de Fabio Perletta, ce n’était qu’en relation avec ses partenaires de son à Stroboscopic Artefacts. Lucy l’avait en effet cité comme référence lors de la première interview qu’il nous avait accordé et il avait également participé sur un titre au monument de techno tribale & shamanique composé par le combo Dadub (sous le pseudonyme Øe). L’esthète italien (encore un !) mérite pourtant qu’on s’attarde sur son cas au vu de la qualité du label qu’il a fondé – Farmacia901 – et de ses différentes escapades musicales. A l’heure du premier album sur son propre label, une chronique en bonne et dûe forme s’imposait.

Interstitial Spaces semble en effet être la cristallisation de ce que Perletta semble avoir toujours recherché à travers ses divers projets et alias : une pureté enfin nue, dépouillée des artifices qui la dénaturent, et livrée telle quelle. Cet aboutissement sera obtenu par l’entremise d’une précision microscopique dans les sonorités ainsi que d’un minimalisme radical mais plutôt direct qu’abstrus. Le tire même de l’opus suggérait déjà cette précision presque fanatique ; et, si les novices seront sans doute déroutés par la proximité avec l’ineffable qui entame chaque morceau, une écoute minutieuse indiquera immédiatement la maîtrise absolue du compositeur. Alors que Field: Atom(s) Entropy savait se faire chatoyant, presqu’exotique, malgré une sobriété toujours de mise, Interstitial Spaces mène jusqu’à sa fin ultime la démarche amorcée par son prédécesseur.

Les deux morceaux – de plus de 20 minutes chacun – que présente cet album se construisent par tatônnements contrôlés, se fraient un chemin entre silences voulus et tâchetis de sonorités en relief. Chaque élément du décor se voit optimisé par une texture sonore franchement bluffante et l’habile utilisation du silence, instrument à part entière sur les premières minutes des morceaux. Un tissage de micro-maillons synergiques permet de donner forme à ce qui semblait tout d’abord un exercice de style vaniteux. La structure complexe de chaque morceau force l’auditeur à redoubler d’attention pour en saisir les subtilités : il lui faudra se re-créer un dispositif mental en accord avec la volonté artistique déployée sous peine de devoir lâchement abandonner l’écoute. Cette exigeance sera récompensée lorsque le tissage évoqué plus se verra magnifié puis remplacé par la radiance irréelle, limpide et exaltante des splendides nappes qui viendront naturellement s’y greffer. Une délectation toute contemplative peut dès lors prendre place sans que l’attention dusse pour autant s’affaiblir si l’on veut pouvoir littéralement capter toutes les réfractions de ces épanchements lumineux. Le terme du voyage laissera pantois les âmes perdues qui l’auront entrepris et sera sans nul doute réitéré à l’envi par la suite.

De par sa beauté sans artifices, dénuée des niaiseries sentimentales parfois si agaçantes dans la musique ambient, sa clarté et son indiscutable qualité sonore, Interstitial Spaces parachève la vision artistique exigeante de Fabio Perletta. La preuve par mille que lorsque la musique ambient sait se faire élitiste (ce qui est une réalité de fait plus qu’un jugement de valeur), elle y gagne infiniment plus qu’elle n’y perd. Les passionnés de ce mouvement musical ainsi que tous les amateurs de défis musicaux peuvent dors et déjà se ruer sur les copies restantes de ce joyau, les autres devraient éviter toute perte de temps.

LEANDRO PISANO / BLOW UP #191

L’analisi percettiva condotta da Fabio Perletta sulle strutture microscopiche del suono costituisce uno dei percorsi in assoluto più interessanti nel composito panorama di indagine estetica legato al rapporto tra arte, scienza e suono. In occasione di questa nuova uscita, costruita con un rigore formale ed un’attenzione certosina che investe l’intero processo di produzione e che ormai comincia ad informarne in maniera caratterizzante l’approccio, il sound artist abruzzese sceglie di applicare il proprio metodo entomologico agli spazi interstiziali, all’esplorazione delle particelle di suono più nascoste all’interno della materia. Il silenzio, la dialettica tra visibile ed invisibile, la rarefazione delle molecole sonore e la ricombinazione di esse attraverso eventi microscopici: sono diversi gli elementi al centro dell’attenzione di Perletta in questo lavoro, calati in un contesto immersivo in cui Perletta riesce ad evidenziare la propria abilità nel costruire relazioni significative tra afflato umano e aspetto tecnologico, tra suono e scienza, nella tensione verso l’infinitamente piccolo e, dunque, verso l’inaudibile. Nelle due lunghe, distese suite che compongono questo “Interstitial Spaces” riecheggiano linguaggi e procedimenti sperimentati da autori come Richard Chartier o Yann Novak, dai quali Perletta riesce a mutuare l’idea di un suono sensuale, sottile e flebile che tuttavia riesce a saturare lo spazio dell’ascolto (rigorosamente in cuffia) in un continuum sinestetico nel quale l’ascoltatore viene sospinto verso quella terra di mezzo in cui coesistono suono e non suono, buio e luce, pieno e vuoto. Attraverso un punto di vista (e di ascolto) che emerge, significativamente, nelle parole dell’autore: “Trovo affascinante l’idea che il suono non abbia origine in nessun luogo. Semplicemente, esso esiste”.

PHILIPPE BLACHE / IGLOO MAGAZINE

Fabio Perletta is an original electronic sound sculptor and laptop artist whose constant experiments and conceptual goal is to draw the relationship or more precisely the intimate connections between human perception and the sonorous properties of environment (spatialisation of time). To accomplish his research he used to deliver a few materialistic testimonies thanks to inter-media performances as well as physical releases on his own label Farmacia901.

With infinitely subtle nuances of pitch, vaporous droning textures and micro-processed frequencies, this new album resonates as a cerebral meditative experience where the listener is absorbed by primordial, almost mantra-like organic vibes. The sound architecture is divided between ominous silences and almost none perceptible cells which progressively permute into a microtonal acoustic sound tapestry, made of undulating drone sequences. Those rich, sonic and timbral sonorities offer an a-temporal dreamtime travel, irresistibly attractive and sensory fundamental. The musical language deliberately installs a conversation between downtempo soothing ambient minimalism and compelling microsonic expressions you can experience in innovative post-modern music.

Once more Perletta elaborates a distinctive, reflective and contemplative exploration on the sound phenomenon along the notions of “timbre” and “tone color.” An indispensable listening experience which admits a natural affinity with the works of Bernhard Günter, Klaus Lang, Thomas Köner, with the spectral-timbral tendencies of contemporary classical music (Tristan Murail) and the electromagnetic experiments of Christina Kubitsch.