| $15.71
back in stock as of
june 10th, 2008
first in stock on
december 8th, 2005
threads:
modern-psych
guitar-themed
field-recordings
electro-acoustic-composition
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| | | häpna (sweden) #h.26 cd 3/4hadbeeneliminated “a year of the aural gauge operation” compact disc - widower (9:53)
- labour chant (5:24)
- shifting position (1:54)
- wave bye bye to the king (10:10)
- monkey talk (4:24)
- loop recorder in the patient with heart disease (4:03)
- in every tree a heartache (8:32)
- fun with nails (3:30)
- as of yore (11:33)
| | click the play button to hear an excerpt of "in every tree a heartache" |
| | spectacular second disc by this italian “supergroup” of stefano pilia, valerio tricoli, claudio rocchetti, and tony arrabito; decidely “rock” music with decidedly “non-rock” moves informed by contemporary avant-gardes (free improvisation, experimental turntablism, tape manipulation.) it’s time for everyone to wake up and start checking out the music coming out of this tightly-knit bolognese scene... |
| | 3/4hadbeeneliminated
“a year of the aural gauge operation”
häpna h.26, cd
9 tracks, 59 minutes
release date: december 13, 2005
tony arrabito: drums, percussion
stefano pilia: electric guitar, double bass, acoustic instruments, field recordings
claudio rocchetti: turntables, electronics, objects
valerio tricoli: tape loops, synthesizer, acoustic instruments, vocals
3/4hadbeeneliminated was founded in bologna, italy, in 2002. starting as a trio (guitarist/double bassist stefano pilia, turntablist/sound assembler claudio rocchetti, sound architect valerio tricoli), the drummer tony arrabito was added to the line up in 2004.
their first self titled record (bowindo, 2003) was released after playing a series of live concerts in which the group attention was strongly focused on the performative/theatrical/ecological aspects of the event. comprised of a large number of electronic and acoustic instruments, the album mirrors the disparate musical influences and aesthetics of the group: live electronics, electroacoustic composition, field recordings, drones...
in the following two years, after exploring and experimenting with self invented recording techniques, 3/4’s modus operandi focused on live interaction between electronic and acoustic instruments within a context in which the studio itself (tape machines, mixers, effects...) and the actual space in which the interaction took place (weird microphoning, feedbacks...) were considered and manipulated as instruments themselves (not by chance 3/4’s are fans of musicians such as this heat, p16.d4, todd rundgren...). in this process, improvisation and group playing were the main issues, whereas 3/4’s first release was more based upon electroacoustic découpage.
the goal 3/4’s is trying to reach is that of unifying in one moment the three steps of songwriting, recording, and electroacustic post-production. this is done in a brilliant way on their new album, a year of the aural gauge operation, which was recorded in their own studio in bologna in 2004. it features nine songs composed after live improvisations, all of them quite different in genre, but again 3/4’s aim is to create a psychedelic musical flow, one in which new elements and different styles can be superimposed to enrich and develop the peculiar narrative of the album. 3/4’s generally thinks of it as an opera. |
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