SOLO – HIGH WIND MAY EXIST

The project take inspiration from the wind

We have always lived with the wind, but it has always been unpredictable and surprising for us .It’s an element present in myths and cosmologies from around the world, an inspiration for poets, painters and composers is the breath of life, a peace image, in which Elijah feels the divine presence telling him the danger ceased, but on the other side is a destructive force, represents the anger of ancient gods,it’s a natural disaster that we humans know, but not enough to be completely prepared to it. 

So this music starts from the wind, from its sounds, from what it can make resonate and from its rhythms and contrasts, following its evolution. The music combines field recording, with live electronics, flute and other wind instruments, moving from dense, full of sound moments, until the essence of the instrument, which is explored in every nuance.

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MOTHRA モ ス ラ

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Mothra is a giant moth, the monstrous God of peace of the Japanese cinema, appeared on the screens in 1961. It reveals its devastating powers only when its environment is violated or when his friend / enemy Godzilla becomes evil. Its wings, symbol of an intangible lightness, are transformed into lethal weapons with which gives rise to hurricanes.

A moth as a symbol of fragility that can unleash an irrepressible force: the three musicians combine these contrasts through music in a constantly changing that, through mutual listening and improvisation, can be delicate and introspective but also furious and release.
The three of them are joined by extra-European musical approaches: Mina plays flute but also bansuri flute, duduk, danmoi, fujara; Zanotti plays percussions and other instruments from Africa like mbira and kamalengoni, Andean drums and objects; Frana plays turkish oud, in particular an electric variant as well as the lute, Afghan rabab and other plectrum instruments. 
The trio explores electroacoustic territory extending the sonic possibilities of their instruments with effects, loops and live electronics.

 

 

 

FABIO MINA: flute, duduk, bansuri, fujara, danmoi, koncovka, electronics, field recordings 

PEPPE FRANA: electric oud, electronics

MARCO ZANOTTI: bombos legueros, calebasse, pandeiro, kamalen’goni, m’bira, percussioni, electronics .

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GROUND TO SEA SOUND COLLECTIVE

Ground-to-Sea Sound Collective born in the 2013, together with Emiliano Battistini and the video maker Luca Mina. The project goal is the creation of site-specific concerts, made of the amplification and the live elaboration of a place sounds and field recording: the landscape sounds become like an ensemble to interact with. This artistic action is based on the discover of a specify place sounds, originating new possibilities. The field recording is, in this case, much more beyond the documentation. Mixing together natural interests, valorization of cultural heritage and music and starting from the town of Rimini, Italy, Ground-to-Sea takes the sea and the places aroun it as its first inspiration source. Acoustic waves like sea waves: If the sea makes a travel possible, across it, the sound itself travels and unifies far and close lands. In the sea we find a huge sounds library, sounds made of water, sand, between the backwashes, waves and the air, which changes its shape. We feel the sound clearly when we are close to the source, other sounds come loud even from far away, but we need particular microphones and equipment to perceive other sounds, the more hidden ones. Furthermore the sea can make resonate architectonic elements, and natural elements, hit or touched lightly by its strength, making his “orchestra” even larger.In the Ground-to-Sea approach to the musical instruments is fundamental the improvisation as an act of extemporary composition, both as expressive method to communicate sincerely what’s happening musically, both as way to find a line, to fix points to move from. Important is also the role of extra European music, that after studies creates a rich source. The instruments possibilities are also extended with live electronics, the digital elaboration is used as way to find new sonorities, with consciousness.

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