Visualizzazione post con etichetta Electric Tree. Mostra tutti i post
Visualizzazione post con etichetta Electric Tree. Mostra tutti i post

venerdì 10 novembre 2017

Obsolete Capitalism Sound System •• Chaos Sive Natura •• Pt. IX Dubmodic (Monodic Variation) •• Rizosfera/The Strong of the Future, SF011.eng, 2017


Obsolete Capitalism Sound System
Chaos Sive Natura
Dubmodic (Monodic Variation)

Another centre of forces that enter our sonic-ship leaves from a flourishing electronic laboratory of our times called Electric Tree. It is an abstract jazz unit which includes in its free style composition, electronic improvisation. Composed by Franco D'Andrea (piano), Andrea Ayassot (saxophone), Luca Roccatagliati (electronics), the trio is grounded on D'Andrea’s figure, a cultured sensitive musician with a huge intellectual curiosity. He has been an icon of European Jazz since his first experimentation with Perigeo in the 70’s, to reach a more personal and intense style in between free jazz, blues motifs and recalls of Monk's aphoristic phrasing. Ayassot is an imaginative saxophonist led by musical paths which cross European contemporary music, jazz and Indian ragas. Roccatagliati offers breakbeat experimentations that open to chaos forces, paving the way to abstract electronics, thanks to his peculiar rhythmic sensitivity, Latin and Jazz traces and a total dedication to Afro-futuristic bass culture. It is from Electric Tree laboratory that Obsolete Capitalism erratic lines set sail.


giovedì 9 novembre 2017

Obsolete Capitalism :: Chaos Sive Natura :: Pt. VIII Dubmodic (Monodic Variation) - Rizosfera/The Strong of the Future, SF011.eng, 2017


Obsolete Capitalism Sound System
Chaos Sive Natura
Dubmodic (Monodic Variation)

To be able to bind the future and therefore the god of rhythm, it is necessary to give some metric form to the poetic and musical discourse. Without verse/rhythm we are nothing and are left at the mercy of the future, on the contrary with verse/rhythm we may be quasi-gods and are able to force our future. This can happen with any verse, bar or passage, because as Nietzsche says "even the wisest of us occasionally becomes a fool for rhythm, if only insofar as he feels a thought to be truer when it has a metric form and presents itself with a divine hop, skip, and jump.”


“Feeling to be truer" through the rhythm, “subverting” the future through a "peculiar, magic cadence" able to alter its essence, is another aspect that links Spinoza, Nietzsche’s incessant transformation, the god of rhythms, with the acephalous project of Chaos Sive Natura.