. sound
audio art . experimental . microsound
CD - Matter
The result of collaboration between the Italian sound-artist David Sani (Shinkei) and the Israeli artist Shay Nassi (mise_en_scene), Scytale introduces itself with truly dark atmospheres that are sensitive, highly stylized and calibrated, but alienating. Its title suggests a number of possible interpretations: it cites an ancient encryption technology, almost suggesting that these sounds could point to side frequencies and auditory expressions generated and adjusted in a continuous process of cuts and articulations, suspensions and sudden changes of structure. There seems to be a steady and uninterrupted stream of data hidden in the unraveling of the composition. Digital variations give rise to a permanent tension, which is very reactive in the possible transmutation of its codes and aesthetics. Not content with their achievements, the same procedures then scrutinize the work of other performers (Louis Turra, Michael Hartman and Yukitomo Hamasaki), with not too dissimilar results in their chords and poetic junctions: these refinements, too, are very delicate and intangible.
Aurelio Cianciotta
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Shinkei + mise_en_scene - Scytale
CD - MatterThe result of collaboration between the Italian sound-artist David Sani (Shinkei) and the Israeli artist Shay Nassi (mise_en_scene), Scytale introduces itself with truly dark atmospheres that are sensitive, highly stylized and calibrated, but alienating. Its title suggests a number of possible interpretations: it cites an ancient encryption technology, almost suggesting that these sounds could point to side frequencies and auditory expressions generated and adjusted in a continuous process of cuts and articulations, suspensions and sudden changes of structure. There seems to be a steady and uninterrupted stream of data hidden in the unraveling of the composition. Digital variations give rise to a permanent tension, which is very reactive in the possible transmutation of its codes and aesthetics. Not content with their achievements, the same procedures then scrutinize the work of other performers (Louis Turra, Michael Hartman and Yukitomo Hamasaki), with not too dissimilar results in their chords and poetic junctions: these refinements, too, are very delicate and intangible.
Aurelio Cianciotta
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