giuseppe chiari / daniele lombardi “+ / - • costellazione” artist's multiple

• giuseppe chiari - per cardini n.2
  
• giuseppe chiari - per cardini n.7
  
• giuseppe chiari - per cardini n.8
  
• giuseppe chiari - le fogli. i numeri (estratti)
  
• giuseppe chiari - canto
  
• giuseppe chiari - intervalli n.2 (do)
  
• giuseppe chiari - mpdl
  
• giuseppe chiari - per daniele n.3
  
• giuseppe chiari - per daniele n.8
  
  
• giuseppe chiari - la strada (estratto)
  
• giuseppe chiari - finale
  
  
• daniele lombardi - untitled (1)
  
• daniele lombardi - untitled (2)
  
• daniele lombardi - untitled (3)
  
• daniele lombardi - untitled (4)

die schachtel press release...

giuseppe chiari +/- daniele lombardi costellazione genre: 20th century avantgarde, fluxus format: lp + cd edition lp+cd special limited edition hosted in a very original fold-out cover, by composer giuseppe chiari (of fluxus) and pianist daniele lombardi (futurist musik). each lp is hand numbered, and contains two art prints by giuseppe chiari. the cd is hand-numbered and signed by daniele lombardi. the total selling copies of the bundle edition are limited to 130. giuseppe chiari was one of the leading names associated first with fluxus (being the only italian member of the interdisciplinary art group since 1962) and later with conceptual and performance art as well as sound art. coming from a background of different disciplines, he established new theoretical and practical standpoints in relation to music and art: his approach was always irreverent, walking the tightrope between to do or not to do, to say or not to say, while continually challenging the limits of language. the die schachtel vinyl lp (titled +/-) feature some of his previously unreleased and most intense pieces for piano, the musical instrument par excellence and emblem of conformist sound with which giuseppe chiari has a love-hate relationship, bestowing on it equal measures of ridicule and praise. it is also an amazing document of his last concert, with frederic rzewski (playing the 1964 groundbreaking piece "la strada"), giancarlo cardini , daniele lombardi and giuseppe chiari himself. the limited cd edition by daniele lombardi, published in the occasion of his solo exhibition at mudima foundation in milan, is the reissue of a 1978 piano sound exploration based upon a map of sky constellation, planned as the first step of a large work focused on the exposition and 'performance' of constellations maps, planetaria and maps of the heavens. it is a perfect counterpoint to the chiari edition, and it is hosted in a custom-made, silkscreened natural cardboard case, inserted in the fold out cover together with the lp.

franca sacchi “en” compact disc

• ainsi fut le commencement, il n’y aura pas de fin (10:58) 1970
  
• arpa eolia (8:17) 1970
  
• quando mi hanno ucciso, se così posso dire, e quindi rinasci. (9:02) 1972
  
• danza, mia cara (28:32) 1971

die schachtel press release...

franca sacchi en ds 24 cdbox 2011 one of the very few female composer of early electronic music, franca sacchi studied at the well known rai studio of fonologia in milan in the 60s. she developed the “en-static” principle, which included improvisation, electronic music, ritual, performance, teaching and meditation. her music focuses mainly on sound, which is treated as raw material and endlessly explored. sacchi's free concept of duration and deep emotional feel brings her closer to eliane radigue and la monte young, especially for the long and sustained tones which are suddenly turned into pulsations and gritty sound textures. her work was also included in the seminal broken music exhibition in berlin. originally published by die schachtel as limited edition lp, this lavish golden cdbox + booklet presents her best work in a fully remastered edition. edition of 500 copies

gruppo nps “nuove proposte sonore • 1965-1972” long playing record

• ricerca 4 (5:48)
  
• funzione 4 (2:48)
  
• modulo 4 (3:53)
  
• interferenze 2 (4:35)
  
• massse 1 (3:15)
  
• massse 2 (2:39)
  
  
• freq. mod. 2 (6:30)
  
• insiemi (7:40)
  
• filtro 1 (6:36)
  
• hardlag ii (5:33)

die schachtel press release...

gruppo nps nuove proposte sonore 1965 - 1972 ds 23/2 vinyl lp 2011 limited edition of 300 copies. deluxe silver cover with silver foil design, custom inner sleeve and 12-page booklet in english and italian. the nps - nuove proposte sonore (new sound proposals) group was founded in padua (italy) in 1964 by the composer teresa rampazzi together with the visual artist ennio chiggio. working with analogical devices they produced some of the most compelling electronic music of the period, and they soon became one of the most reputed electronic music centers in italy, together with the s 2 fm by pietro grossi in florence and the smet by enore zaffiri in turin. with the departure of chiggio, the years 1969-1970 tranformed it in a female-only collective (teresa rampazzi, serenella marega and patrizia gracis). the two periods were characterized by different instrumentation, and it is surprising how they were able to achieve great results with some simple means. at least in the beginning. in the first period they used a couple of two-tracks tape recorders (sony 777 and sony 521), an eico low frequency generator, a radio station to produce long wavelengths frequencies, a mixer, an oscillator, a revox, and a self-built loudspeaker. they had to use the stairwell as an echo chamber. in the second one, when the studio was more established, they had six manually-controlled oscillators as well as six modulated ones, a white noise generator, an octave-band filter and a variable one, an amplitude modulator, a noteswitch, a reverb, a 10-channels mixer, a unit for audio signal routing, four tape recorders, a stereo sound system and a frequency meter (during the last years they also bought a 2500 arp synthesizer). this deluxe lp edition presents the group’s compositions for the first time ever.

grupo nps “nuove proposte sonore • 1965-1972” compact disc

• ricerca 4 (5:48) 1965/1968
  
• funzione 4 (2:48) 1965/1968
  
• modulo 4 (3:53) 1965/1968
  
• interferenze 2 (4:36) 1965/1968
  
• masse 1 (3:15) 1965/1968
  
• masse 2 (2:39) 1965/1968
  
• freq mod 2 (6:31) 1968/1972
  
• insiemi (7:40) 1968/1972
  
• filtro 1 (6:36) 1968/1972
  
• hardlag ii (5:33) 1968/1972

die schachtel press release...

gruppo nps nuove proposte sonore 1965 - 1972 ds 23 cdbox 2011 the nps - nuove proposte sonore (new sound proposals) group was founded in padua (italy) in 1964 by the composer teresa rampazzi together with the visual artist ennio chiggio. working with analogical devices they produced some of the most compelling electronic music of the period, and they soon became one of the most reputed electronic music centers in italy, together with the s 2 fm by pietro grossi in florence and the smet by enore zaffiri in turin. with the departure of chiggio, the years 1969-1970 tranformed it in a female-only collective (teresa rampazzi, serenella marega and patrizia gracis). the two periods were characterized by different instrumentation, and it is surprising how they were able to achieve great results with some simple means. at least in the beginning. in the first period they used a couple of two-tracks tape recorders (sony 777 and sony 521), an eico low frequency generator, a radio station to produce long wavelengths frequencies, a mixer, an oscillator, a revox, and a self-built loudspeaker. they had to use the stairwell as an echo chamber. in the second one, when the studio was more established, they had six manually-controlled oscillators as well as six modulated ones, a white noise generator, an octave-band filter and a variable one, an amplitude modulator, a noteswitch, a reverb, a 10-channels mixer, a unit for audio signal routing, four tape recorders, a stereo sound system and a frequency meter (during the last years they also bought a 2500 arp synthesizer). deluxe silver cd-box, silver-foil design, complete with a 36-pages booklet in italian and english. edition of 500 copies

“prix italia • imaginaton at play • the prix italia and radiophonic experimentation” sextuple compact disc and book boxed set

• nino rota - la notte di un nevrastenico (34:53) 1959
  
  annuncio del librettista (3:08)
  scena prima (1:24)
  scena seconda (2:47)
  scena terza (0:54)
  scena quarta (2:06)
  scena quinta (6:24)
  scena sesta (3:46)
  scena settima (0:35)
  scena ottava (1:40)
  scena nona (4:46)
  scena decima (1:12)
  scena undicesima (4:48)
  scena ultima (1:22)
  
  
• niccolè castiglioni - attraverso lo specchio (45:58) 1961
  
  scena 1 (3:09)
  oberon (1:21)
  corale 1 (1:33)
  speaker 1 (3:46)
  corno inglese (2:14)
  contra-punti (5:48)
  ostinato (2:20)
  speaker ii (1:36)
  aria (2:22)
  ariel (2:24)
  speaker ii (5:39)
  puck, ariel, eco, coro (0:19)
  eco (0:47)
  coro - ariel (1:40)
  puck, ariel, eco (1:26)
  oberon (0:41)
  recitativo (1:00)
  variazioni (3:01)
  scena 2 (4:50)
  
  
• bruno maderna - don perlimplin (46:05) 1961
  
  introduzione (1:47)
  speaker (1:20)
  prologo (1:07)
  belisa (1:22)
  tempo di rag - belisa (0:43)
  suocera (sax) (1:23)
  tempo di rag (belisa) (1:34)
  quadro primo, prima parte. speaker (0:49)
  belisa (1:39)
  dialogo belisa-don perlimplino (1:25)
  intermezzo folletti (1:59)
  quadro primo, seconda parte (4:25)
  solo nastro magnetico (1:39)
  speaker (1:13)
  blues di don perlimplino (0:37)
  improvvisazione (1:03)
  quadro secondo (1:07)
  ritmo di arpe (3:52)
  quadro terzo (1:23)
  il blues di don perlimplino (1:58)
  canzone di belisa (3:01)
  blues "dark rapture crawl" (3:45)
  quadro quarto (6:53)
  
  
• bruno maderna - ritratto di erasmo (61:08) 1969
  
  «non vi è momento…» (3:08)
  «il perfetto campione…» (1:28)
  «in una pagina famosa…» (2:52)
  musica - «se, quando uscì…» (2:07)
  «uno dei suoi avversari…» (0:56)
  «ma di fronte agli erasmiani…» (1:01)
  «erasmo e lutero…» (2:32)
  coro, wach auf (1:01)
  «ma, mentre erasmo…» (1:44)
  «per contro l'olandese…» (1:05)
  «sui modi e sulle ragioni…» (2:17)
  «intanto si compiva…» (3:16)
  «a francoforte pare…» (2:46)
  «all'improvviso lutero…» (3:38)
  «il gruppo dei nemici…» (5:07)
  «smettetela con la vostra…» (0:32)
  «carlo v ne ha abbastanza…» (2:19)
  «ma ormai erasmo…» (4:01)
  «la risposta di lutero…» (2:20)
  «quando abbiamo visto…» (14:54)
  musica elettronica (2:02)
  
  
• bruno maderna - ages (31:13) 1972
  
  introduzione (4:58)
  corpus i parte (6:51)
  corpus ii parte (4:21)
  corpus ii parte (1:12)
  corpus iii parte (2:27)
  corpus iii parte, ciaccona (3:05)
  finale iv parte (8:25)
  
  intervista a maderna (3:04)
  intervista a pressburger (1:54)
  
  luciano berio - diario immaginario (31:10) 1975
  
  introduzione (2:22)
  scena i (4:57)
  ah, la dura natura (2:45)
  intermezzo (4:31)
  pulcinella (2:34)
  coro gendarmi (6:11)
  scena ii (3:51)
  coda (3:57)
  
  
• salvatore sciarrino - la voce dell’inferno (39:34) 1981
  
  il viaggio: la partenza (2:19)
  alla costellazione dei gemelli (2:57)
  la ventata sonora (0:40)
  ne lagrimai (5:33)
  la bufera infernal (3:20)
  urlar li fa la pioggia come cani (1:33)
  papè satàn aleppe! (1:26)
  fanno pullular quest'acqua (4:04)
  le tre furie infernal (2:05)
  reminiscenza (4:36)
  intervista a torricella e sciarrino (10:59)

die schachtel press release...

imaginaton at play. the prix italia and radiophonic experimentation. radioplays by luciano berio, bruno maderna, niccolò castiglioni, nino rota and salvatore sciarrino, produced from 1959 to 1981 at the famous milan rai electronic musica studio di fonologia. edited by angela ida de benedictis and maddalena novati. die schachtel / rai trade ds22 | isbn 9788890487316 genre: 20th century composers format: book + 6 cd box description: deluxe box, 400 pp english / italian book + 6cds after five years of intense, passionate and sometimes painful work, die schachtel (in collaboration with rai) is proud to announce the release of the long-awaited massive book+6cds boxed edition dedicated to some of the most compelling italian radio works which took part in the prestigious prix italia, a world-famous contest established by the rai (the national italian broadcasting company) in the early sixties and still well alive today, aimed to award the best and most uncompromising audio-visual produced throughout the world. imagination at play. the prix italia and radiophonic experimentation presents seven original radio plays – some of them previously unreleased – which entered the competition from 1961 to 1981, complete with two audio interviews to some of the participants. the works have been taken from the original rai tapes, carefully restored and impeccably re-mastered by giuseppe ielasi, making them a splendid listening experience. the accompanying 400 pages book (in italian and english) features seven essays written by some of the most prominent experts in this field, plus a long interview to mr. sermonti and the complete transcriptions (again in italian and english) of all the featured works. curated with passion and a painstaking attention to detail by angela ida de benedictis and maddalena novati (authors of the celebrated new music at the radio and nine oscillators books, both devoted to the rai studio di fonologia), the enclosed book take advantage of the impeccable english translation by mr.< b>mark weir and the fascinating (yet reader-respectful) design by dinamomilano, making it an essential reading to understand in depth the musical and semiological aspects of these outstanding works, composed and realized by some of the greatest geniuses of modern italian music. the selection of works includes: bruno maderna – don perlimplin (participant, 1961); original edition. this mesmerising radio work for chamber ensemble and actors is based on federico garcia lorca's ballata amorosa "amor de don perlimplin con belisa en su jardin" (1926) which tells the story of "a shy and gentle man who lived ... happily in the midst of his books" who, convinced to get married by his governess marcolfa, weds belisa who has agreed only to please her mother. the story unfolds till the tragic end. perlimplin's "voice" is a flute which answers in place of words. marcolta's lines are spoken by an actress. belisa sings in the distance in deep reverberation and also speaks in natural voice. the mother-in-law's "words" are played by a saxophone quintet backed by a jazz group with vibes, drum set, etc., and wordless scat singer, a combination which contrasts wonderfully with maderna's light serial style. there are also atmospheric intermezzi with combined taped electronic music and live acoustic instruments. bruno maderna – ritratto di erasmo (commission, 1969) ; original edition, previously unreleased. a compelling “documentary” dedicated to the great erasmus of rotterdam, written and composed by maderna himself. in the long final part of the work, electro-acoustic music is used to create hellish, outwordly atmospheres that give a sense of indefinite, of obscurity and tension, through the use of sounds and treatments which our ear perceive as known but can not recognize. the electronic studio is also used to elaborate demons’ voices by distortion and by variating the speed of reading of the tape, to underline the contraposition between the idea of a man without freedom, outlined in calvino’s oration, and the absolute freedom of demons which symbolizes the humanistic idea that gives up determinism to devote herself to the freedom of research. bruno maderna – ages (winner, 1972); original edition an invention for radio from as you like it by william shakespeare. text adaptation and direction by giorgio pressburger. maderna reached a very high peak in his last year of life with the perfect poetic / musical integration of ages, a “radiophonic invention” based on the famous speech of jaques in “as you like it” by william shakespeare. this is an absolute masterpiece, where once again maderna’s genius and unique grasp on electroacoustic and electronic music makes for a compelling listening experience, still contemporary forty years after its composition. luciano berio - diario immaginario (winner, 1975); original work, previously unreleased radio opera with music based on le malade imaginaire by molière. from luciano berio’s original note: the scene of imaginary diary is the mind of the actor who has often played the part of the protagonist in molière's the imaginary invalid. as in a dream, the actor often remembers fragments of questions, answers, meditations, comments, and «intermezzi», in a kind of interior monologue, or rather of interior self-commiseration. the actor has no interlocutors: he is alone with a double-bass continuo, which follows him like a shadow. the music is that which comes into his mind, progressively, as if he were imagining it. what he himself would choose if he were the director, to accompany the story he has so often interpreted. a music which, in fact, commiserates him, comments on him, and every now and then sings his praises. a music which makes him cry and laugh in an apparently incoherent fashion (especially in the intermezzo, where the chief actor and punchinello tend to be identified), which he has absorbed here and there in films, on the radio, at concerts and at the opera. imaginary diary, therefore, is not so much an analysis of the molière character as the chronicle of the thoughts of an actor who irreparably bears with him, shadow-like, that gigantic character. nino rota – la notte di un nevrastenico (winner, 1959); original work la notte di un nevrastenico a lyric opera by nino rota originally composed in 1950. a bittersweet comedy whose main character is a neurotic guest who has taken an entire floor in a city hotel in order to be able to sleep in solitude. he suffers of insomnia, and his attempts to sleep are disturbed by a number of other characters, from the sly hotel personnel to the occasional and furtive lovers in the adjacent room. niccolò castiglioni - attraverso lo specchio (winner, 1961); original work, previously unreleased niccolò castiglioni was an italian composer who began his career writing neo-classical music, moved to the 12-tone technique, then created an unusual mixture of avant-garde techniques (employing electronic music as well) and late-romantic expression. he began his professional musical career as a pianist. his compositional status became established when he won the italia prize for his radio opera attraverso lo specchio, inspired by lewis carroll, a fascinating and dreamlike journey through electronic music and spoken words, that takes the listener to a magic, almost psychedelic dimension. salvatore sciarrino – la voce dell’inferno (participant, 1981); original work, previously unreleased based on dante’s inferno, this incredible work is a mind-blowing sound journey into the souls of the damned (and clearly a methaphor of the modern men’s life conditions). the cutting edge production and the electronic treatment of the spoken word definitely make this work one of the masterpieces of sound poetry, beside being one of the best example of radiophonic art ever produced. in conclusion, prix italia offers a significant overview of the best radiophonic art realized by the rai in the second half of the twentieth century, and at the same time stands as an hommage to the milan rai studio di fonologia, the electronic laboratory where all the featured works were originally realized.

daniela margoni tortora “alvin curran • live in roma” book

• alvin curran • live in roma (300 pages)

die schachtel press release...

alvin curran live in roma genre: avantgarde music essay, monograph format: book description: deluxe edition, silver and gloss varnish print, 300 pp in english and italian although alvin curran is almost universally recognized as one of the leading figures of the late 20th century musical avant-garde, he has never received the recognition he deserves in the form of a proper publication. this is in fact the first book ever to present a complete and coherent picture of this gigantic figure of experimental music. a radical experimentalism and a kind of innate volatility have, in fact, long kept the person and the work of alvin curran, one of the historic founders of the group musica elettronica viva (mev), at the margins of contemporary musical historiography. his vast and all-inclusive experience refuses to fit into the common schemas and cubbyholes, excluding him from the conceptual straitjackets of current western musicology. lavishly produced and conceived, the book is centered around extensive descriptions of the most important works and compositional techniques, providing a historical account of curran's musical concerns and changing style: in permanent flux between two distinct cultural geographies (italy and usa), sensitive to an infinity of pressures, encounters, transformations, and provocations, curran’s artistic voyage is presented here through a comprehensive historical and critical study that avoids buzz-word definitions and gives great respect to his otherness – an otherness clearly and happily a part of the variegated musical universe of our time. gathered for the first time in a single monograph, the contributions of several of the foremost italian and international scholars – enriched by an astounding “travel log” by curran himself and by unpublished images from his private archive – confirm the role of this composer-performer-teacher-writer as a major contributor to the evolution of artistic languages in the late twentieth century and beyond.

pietro grossi “combinatoria” double compact disc set

• pietro grossi - pg4 - 1965 (excerpt) (10:42)
  
• pietro grossi - sp - 1965 (excerpt) (6:44)
  
• pietro grossi / s 2f m - om - 1966 (excerpt) (11:15)
  
• vittorio gelmetti - modulazioni per michelangelo - 1965 (8:34)
  
• riccardo andreoni - studio sugli impulsi - 1968 (excerpt) (6:38)
  
• albert mayr - proposta sonora viii" - 1968 (excerpt) (6:30)
  
• aurelio peruzzi - studio 1 - 1967 (4:23)
  
• smet - el 25 - 1966 (2:50)
  
• nps - interferenze 2 - 1967 (4:13)
  
  
• pietro grossi - create [a] (0:30)
  
• pietro grossi - sound life 24 (5:17)
  
• pietro grossi - fuga xii (1:34)
  
• pietro grossi - sound life 11 (2:10)
  
• pietro grossi - silencio (0:06)
  
• pietro grossi - sound life 17 (1:09)
  
• pietro grossi - fuga xii inversa (1:26)
  
• pietro grossi - arte della fuga elaborata (1:30)
  
• pietro grossi - combinatoria 1970 (3:44)
  
• pietro grossi - monodia 1970 (9:57)
  
• pietro grossi - create (2:08)
  
• pietro grossi - silenzio (0:06)
  
• pietro grossi - sound life 25 (0:56)
  
• pietro grossi - fuga xiii (1:36)
  
• pietro grossi - sound life 11 (2:51)
  
• pietro grossi - fuga xiii inv (1:39)
  
• pietro grossi - sound life 27 (1:45)
  
• pietro grossi - arte della fuga elaborata (1:33)
  
• pietro grossi - sound life 42 (6:38)
  
• pietro grossi - create (11:24)
  
• pietro grossi - variazioni su scarlatti sonata 119 (1:35)
  
• pietro grossi - sound life 11 (3:07)

die schachtel press release...

pietro grossi combinatoria genre: early electronic, tape music, early computer sounds format: cd box description: deluxe silver cd-box, silver-foil design, complete with a 28-pages booklet in italian and english a comprehensive guide to the core recordings of one of the most visionary and inspiring, subversive and radical musicians from italy, this 2-cd box deluxe edition captures pietro grossi’s original vision, presenting a wide selection of his studio early recordings, beautifully re-mastered to preserve the enduring quality. pietro grossi used to playfully define himself as pigro [lazy], but he wasn't lazy at all! few musicians have been working everyday at such a cracking pace, creating, teaching and writing, and when we listen to his music we should bear in mind how this complex figure of musician, cellist and composer, and also visual artist, has developed creative thinking in a path where a blend of very different aspects organically cohabited. since the late '50s grossi was convinced of the potential of the 'new sound' and was totally obsessed with pioneering it, to the point where he would found the s 2f m (studio di fonologia musicale di firenze) in 1963 -  which made its headquarters in florence at the conservatorio, and then in his apartment! - spending days and nights on end splicing tapes and working with various modified machines to create his abstract soundscapes. the two cds features his first analogical electronic music, as well as some s 2f m studio works by colleagues such as vittorio gelmetti, gruppo nps (with teresa rampazzi) and albert mayr, while the second disc is focused on the prototype computer generated sound synthesis.

pietro grossi “musicautomatica” compact disc

• progetto 2-3 (14:19) 1961
  
• collage (13:57) 1968
  
• unicum (28:05) 1985

die schachtel press release...

the long awaited cd edition of our first vinyl release ever (2003), will finally give a wider audience the opportunity to listen to some of the most intense compositions of this visionary and uncompromising composer. minimalist before the minimalists, pioneer of computer music, founder of the studio of phonology of florence, visual artist and hacker ahead of his time. this was pietro grossi, a larger-than-life italian composer who questioned the concept of musical authorship and the idea of personal artistic expression: “a piece is not only a work (of art), but also one of the many “works” one can freely transform: everything is temporary, everything can change at any time”. “ideas are not personal anymore, they are open to every solution, everybody could use them”.

mario bertoncini “arpe eolie” compact disc

• chanson pour instrument à vent (12:07) 1974
  
• istantanee i (7:38) 1995
  
• istantanee ii (13:00) 2006
  
• chanson pour instrument à vent (11:11) 1974/2000
  
• chain reaction (12:38) 1973
  
• fuochi (introduzione) (4:42) 1982

die schachtel press release...

mario bertoncini - aeolian harps ds15 cdbox deluxe silver cd-box, silver-foil design ... one of the most adventurous composers and performers of the italian avant garde scene, member of the gruppo di improvvisazione nuova consonanza, great performer of the music of john cage, bertoncini started in the early '70s to design and built incredibly complex and visually fascinating "sound sculptures", based on the aeolian sound principle. amongst his more spectacular installations there were vele, a massive aeolian harp (more than 7 metres high); venti (winds), for 20 aeolian sound generators and 40 performers; and chanson pour instruments à vent, an  "assemblage"  for aeolian harps, aeolian gongs, and one performer. his self-built harps and gongs are excited by blows of compressed air, or by the composer's own breath, and the resulting sound is amplified through contact microphones. if at superficial level they may sound like electronic music (long drones and swooshes of otherworldly sounds), at a close listening they reveal the intensity of a the pure and "analogic" sound of air, far removed from both any artificial or measurable principle as well as from any "casual" or "chance" method of compositions, in fact, all the pieces are carefully composed and even notated.. the cd presents a the complete series of his works for aeolian harps, from 1973 to more recent days.

art fleury “i luoghi del potere” compact disc

• uno spettrio si aggira per (4:36)
  
• brigate hans eisler (4:41)
  
• fabbrica rosa (11:32)
  
• e=mc² (5:01)
  
• la morte al lavoro (11:56)
  
• l’overdose (7:58)

aldo clementi “punctum contra punctum” compact disc

• concerto (18:20) 1986
  
• gian(ca)rlo cardini (5:28) 1978
  
• fantasia su roberto fabriciani (17:15) 1980/1
  
• parafrasi (19:28) 1981

teresa rampazzi “musica endoscopica” long playing record

• musica endoscopica (25:01) 1972
  
  
• environ (6:45) 1970
  
• with the light pen (8:34) 1976
  
• metamorfosi (8:30) 1981  

die schachtel press release...

ds9 teresa rampazzi musica endoscopica genre: early electronic music, computer music format: lp description: limited 300 copies deluxe silver cover with silver foil design, custom inner sleeve and 4-page booklet in english and italian. following the acclaimed cd edition, here's the long-awaited limited "silver" lp edition of the teresa rampazzi incredible early electronic music. it differs from the cd edition for the inclusion of "metamorfosi", a previously unreleased an magnificent drone piece. teresa rampazzi, a seminal yet very little known female italian composer/musician, founded the "nps - nuove proposte sonore" - an experimental music collective formed in the late 60s, she was also one of the founders and main figures of the "centro di sonologia computazionale" a computer music research center active from the early 70s at the university of padua. it would be easy to see electronic composer teresa rampazzi as italy's equivalent of daphne oram or delia derbyshire, those long-neglected pioneers behind the bbc radiophonic workshop. but zoomed in closer, though, a more intriguing picture begins to emerge: "musica endoscopica" is in fact an immersive journey into a futuristic / early digital electronic music with dense, long drone pieces made of complex textures explore the computer's capacity to produce endless variations of source material, and at times anticipate some of the electro-feel to emerge in the years to follow. a welcomed return of die schachtel to their celebrated "metallic" series vinyl lp edition, dedicated to the early electronic italian composers. ... from the liner notes :: …i encountered the electronic music exactly at its birth, listening to its cries in the large marienhöhe concert hall, in darmstadt. (actually the term ‘arrived’ is not correct; no one ever joins any place; we are always walking). teresa rampazzi describes in this way her encounter with the electronic synthesis. it was the year 1952, when she first participated to the ferienkurse für neue musik at darmstadt (she went several other times later). at that time teresa rossi (this was her maiden name) was 37. she was a pianist, performer of avant-garde music and chorus singer; she was married with 2 children. the 1952 edition was one of the most famous edition of the ferienkurse: boulez declares schoenberg’s death, there were the first concerts der jungen generation (teresa was in the chorus of españa en el corazón by luigi nono). nevertheless, a small electronic instrument (a frequency generator) struck her instead. she had understood that that was the only way to completely reject tonal music. ... so in that [marienhöhe] concert hall, for the first time eimert showed to the public a small frequency generator. musicians looked at it suspiciously and did not attach too much importance to it. for me, that little, tricky object could certainly grow, multiply, shock the world, that is the musical world. teresa comes back in padova changed. but she takes a few years to finally abandon her instrumental activity. meanwhile, in her lounge she meets composers, musicians and theoreticians (niccolò castiglioni, franco donatoni, severino gazzelloni, rené leibowitz, heinz-klaus metzger). in padova, she plays in 1959 during a concert with john cage, metzger and s. bussotti. in 1963 she organizes an electroacoustic music concert. but she completely carries our her plan only in 1964, when she meets ennio chiggio, a visual artist member of the gruppo enne. “from darmstadt she took every time with her just moods, perturbation, never detailed reports; and we tried together to elaborate them”. chiggio worked at that time with a company that produces electronic materials: he obtained a low-frequency generator, a semiprofessional philips recorder, and a mixer. teresa contacted him to borrow a mixer and a tape player for an audition. in 1978 – in a interview with michela mollia from which we propose here several long quotations, teresa describes her first experiments as follows: “… you cannot ask a newborn baby to make a long speech. i started to babble when i enthusiastically decided to use the [eimert’s generator]. i mixed just short signals for some few minutes. they were not phrases nor words. i shut down and sold the piano, though i’ve almost destroyed it during my performances with john cage. and i bought the same little frequency generator i’ve seen at darmstadt. with it and a mono tape recorder, i tried to make my first electron experiment.” their first experimental work was a sound collage made together with ennio chiggio, which functioned as musical background for the vernissage of an exposition by the gruppo enne at the biennale in venice. on 22nd may 1965 – together with the arrive of serenella marega and a young engineer, memo alfonsi – the n.p.s. (nuove proposte sonore) group presented itself in a concert with a programmatic manifesto.

terezza rampazzi “musica endoscopica” compact disc

• environ (6:45) 1970
  
• musica endoscopica (25:01) 1972
  
• with the light pen (8:34) 1976
  
• atmen noch (15:16) 1980

die schachtel press release...

terezza rampazzi musica endoscopica genre: early electronic music, computer music format: cd box deluxe description: deluxe cd box + large booklet in its constant pursue of the lost treasures of the italian avant-garde music, die schachtel in collaboration with the university of padua has recovered from the ashes one of the lost and truly shining diamond of the early electronic/digital scene of the 60s and 70s. after more than two years of painstaking research and audio restoration, die schachtel is proud to present a new release dedicated to teresa rampazzi, a seminal yet very little known female italian composer/musician, founder of the "nps-nuove proposte sonore" experimental music collective, inspirer and one of the chief protagonists of the "centro di sonologia computazionale". the "musica endoscopica" box edition features a selection of her compositions, published here for the first time ever. "musica endoscopica" is an immersive journey in early digital+electro-acoustic music: dense, long drone pieces made of complex textures explore the computer's capacity to produce endless variations of source material, and at times anticipate some of the electro-feel to emerge in the years to follow. … i encountered the electronic music exactly at its birth, listening to its cries in the large marienhöhe concert hall, in darmstadt. (actually the term ‘arrived’ is not correct; no one ever joins any place; we are always walking). teresa rampazzi describes in this way her encounter with the electronic synthesis. it was the year 1952, when she first participated to the ferienkurse für neue musik at darmstadt (she went several other times later). at that time teresa rossi (this was her maiden name) was 37. she was a pianist, performer of avant-garde music and chorus singer; she was married with 2 children. the 1952 edition was one of the most famous edition of the ferienkurse: boulez declares schoenberg’s death, there were the first concerts der jungen generation (teresa was in the chorus of españa en el corazón by luigi nono). nevertheless, a small electronic instrument (a frequency generator) struck her instead. she had understood that that was the only way to completely reject tonal music. ...so in that [marienhöhe] concert hall, for the first time eimert showed to the public a small frequency generator. musicians looked at it suspiciously and did not attach too much importance to it. for me, that little, tricky object could certainly grow, multiply, shock the world, that is the musical world. teresa comes back in padova changed. but she takes a few years to finally abandon her instrumental activity. meanwhile, in her lounge she meets composers, musicians and theoreticians (niccolò castiglioni, franco donatoni, severino gazzelloni, rené leibowitz, heinz-klaus metzger). in padova, she plays in 1959 during a concert with john cage, metzger and s. bussotti. in 1963 she organizes an electroacoustic music concert. but she completely carries our her plan only in 1964, when she meets ennio chiggio, a visual artist member of the gruppo enne. “from darmstadt she took every time with her just moods, perturbation, never detailed reports; and we tried together to elaborate them”. chiggio worked at that time with a company that produces electronic materials: he obtained a low-frequency generator, a semiprofessional philips recorder, and a mixer. teresa contacted him to borrow a mixer and a tape player for an audition]. in 1978 – in a interview with michela mollia from which we propose here several long quotations, teresa describes her first experiments as follows: …you cannot ask a newborn baby to make a long speech. i started to babble when i enthusiastically decided to use the [eimert’s generator]. i mixed just short signals for some few minutes. they were not phrases nor words. i shut down and sold the piano, though i’ve almost destroyed it during my performances with john cage. and i bought the same little frequency generator i’ve seen at darmstadt. with it and a mono tape recorder, i tried to make my first electron experiment. their first experimental work was a sound collage made together with ennio chiggio, which functioned as musical background for the vernissage of an exposition by the gruppo enne at the biennale in venice. on 22nd may 1965 – together with the arrive of serenella marega and a young engineer, memo alfonsi – the n.p.s. (nuove proposte sonore) group presented itself in a concert with a programmatic manifesto.

christina kubisch “on air” compact disc

• djungle walk (7:09)
  
• travel (9:47)
  
• circles (5:24)
  
• speak & spell (8:15)
  
• circles ii (5:11)
  
• listen through the walls (8:52)
  
• djungle walk_alt.mix (7:17)
  
  
• interactive track (pc/mac): the complete “in air” project + mpg movie

“musica improvvisa” decuple compact disc set

• thau - defrost (10:00)
  
• thau - other tropics (5:27)
  
• thau - harmattan (12:10)
  
• thau - lightning strike (7:15)
  
• thau - equatorial freeze (6:10)
  
• thau - ice cups (6:27)
  
• thau - misty (8:53)
  
  
• an experiment in navigation - the earth abstracted from its geomorphic features (7:29)
  
• an experiment in navigation - wreckage in gaddani (8:14)
  
• an experiment in navigation - tidal resonance (11:15)
  
• an experiment in navigation - crustal navigation (3:02)
  
• an experiment in navigation - gnomonic (4:01)
  
  
• tumble - trampoline (5:13)
  
• tumble - gymnastic apparatus (5:52)
  
• tumble - consisting of a strong canvas sheet (3:34)
  
• tumble - attached with springs (5:52)
  
• tumble - to a metal frame (10:50)
  
• tumble - used (4:56)
  
• tumble - for tumbling (10:09)
  
  
• ossatura with gene coleman & marina peterson - non prima (11:09)
  
• ossatura with gene coleman & marina peterson - non oltre (18:22)
  
• ossatura with gene coleman & marina peterson - non ancora (10:37)
  
• ossatura with gene coleman & marina peterson - non piu' (10:48)
  
  
• xubuxue - skyline blue (15:00)
  
• xubuxue - skyline red (15:00)
  
• xubuxue - skyline green (15:00)
  
  
• xubuxue - skyline blue 2.0 (15:00)
  
• xubuxue - skyline red 2.0 (15:00)
  
• xubuxue - skyline green 2.0 (15:00)
  
• xubuxue - skyline blue 5.1 (15:00)
  
• xubuxue - skyline red 5.1 (15:00)
  
• xubuxue - skyline green 5.1 (15:00)
  
  
• wintermute - henry dorsett case folk song (8:29)
  
• wintermute - neuromancer (7:07)
  
• wintermute - molly, the razorgirl (4:53)
  
• wintermute - intrusion countermisures electronics (4:44)
  
• wintermute - chiba (4:15)
  
• wintermute - wintermute (3:35)
  
  
• amuleto - mind the gap pt. 2 (3:20)
  
• amuleto - langsam, mit innigem, ausdruck (6:04)
  
• amuleto - final del juego (7:56)
  
• amuleto - rise and (9:12)
  
• amuleto - fall of western empire (7:15)
  
• amuleto - mind the gap pt. 1 (6:25)
  
• amuleto - almanacco dei posti sperduti (10:03)
  
• amuleto - cani neri (10:56)
  
  
• tumble - trampoline (5:13)
  
• tumble - gymnastic apparatus (5:52)
  
• tumble - consisting of a strong canvas sheet (3:33)
  
• tumble - attached with springs (5:52)
  
• tumble - to a metal frame (10:50)
  
• tumble - used (4:54)
  
• tumble - for tumbling (10:09)
  
  
• a spirale - untitled (1) (2:31)
  
• a spirale - untitled (2) (2:32)
  
• a spirale - untitled (3) (2:13)
  
• a spirale - untitled (4) (2:58)
  
• a spirale - untitled (5) (4:51)
  
• a spirale - untitled (6) (4:24)
  
• a spirale - untitled (7) (4:26)
  
• a spirale - untitled (8) (1:32)
  
• a spirale - untitled (9) (4:45)
  
• a spirale - untitled (10) (3:23)
  
• a spirale - untitled (11) (3:48)
  
• a spirale - untitled (12) (2:52)
  
  
• amp 2 - parent-explains (12:43)
  
• amp 2 - results (11:57)
  
• amp 2 - monograph (6:39)
  
• amp 2 - natural (11:13)
  
• amp 2 - thousand (4:44)
  
  
• ligatura - t29 (10:03)
  
• ligatura - t21 (9:16)
  
• ligatura - t19 (7:05)
  
• ligatura - t22 (6:15)
  
• ligatura - t9 (7:54)
  
• ligatura - t18 (8:20)

die schachtel press release...

vvaa musica improvvisadsimp1 10cd+dvd box 2010 musica improvvisa is a cutting-edge project of multi-sensorial improvisation, an open dialogue among different musical experiences, narratives and aesthetics that charters the unexplored soundscape of the telluric territory of the new italian improvised music. ten groups that span from the south to the north of italy, from the well-known to the totally obscure, whose music goes from an harsh assault to the ear to a visionary post-electronic / post everything free-form structure. the brilliant outcome has been lovely packaged by die schachtel in a deluxe box featuring 10 full length cd albums in a series of painstakingly designed individual cd / lp sleeves (one has also an additional dvd of visual scores) plus a 24-pages booklet and a poster. the names in this essential first edition are: a spirale (massimo spezzaferro, maurizio argenziano, mario gabola); amp 2 (domenico sciajno, dario sanfilippo, antonino secchia, gandolfo pagano, andrea valle); amuleto (francesco dillon, riccardo wanke); an experiment in navigation (xabier iriondo, roberto sassi); ligatura (alessandro giachero, maurizio rinaldi, andrea lamacchia, fabrizio saiu); ossatura + gene coleman & marina peterson (elio martusciello, fabrizio spera, luca venitucci, gene coleman, marina peterson); thau (sabina meyer, hans koch, paed conca, fabrizio spera); tumble (andrea belfi, attila faravelli); wintermute (xabier iriondo, cristiano calcagnile, massimo falascone); xubuxue (cd+dvd) (pietro d'agostino, marco ariano, elio martusciello, gianfranco tedeschi).

martino traversa “critical_path” compact disc

• variazioni sopra un labirinto (23:26) 2000
  
• esclepion (6:50) 2002
  
• critical_path (12:27) 2006
  
• ngc 253 (8:38) 2008

die schachtel press release...

martino traversa critical path format: cd description: deluxe tri-fold digipack cd edition martino traversa is a renowned italian composer who studied at salzburg’s mozarteum, at the ccrma at stanford university and with luigi nono from 1987 to 1989. the cd “critical_path” presents for the first time ever a selection of his electronic music works, composed between 2000 and 2008. beside being a prolific composer, martino is a very active cultural promoter: he founded the ensemble edgard varèse in 1990, with luigi nono's support; in 1991 he launched "traiettorie", a highly-reputed international festival of modern and contemporary music in parma, where he is also professor of music at the university. in recent times, he established the “casa del suono” in parma, a place entirely devoted to new music’s events and symposia. the most important piece in this cd is undoubtedly "variations uponoriginal  a labyrinth", influenced by two of the most significant personalities of italian avantgarde, the poet edoardo sanguineti and the composer luciano berio, and in fact based on the “laborintus” text by edoardo sanguineti, read by the poet himself. indeed, it was berio who suggested to traversa to compose this work, when they first met in 1999 in occasion of the macerata music festival. the work is – in traversa's words – a study on sanguineti’s linguistic complexity, an attempt to push his words to the limits:… a sort of sonic “centrifugue” in which every single phoneme, or aggregate of phoneme-word-sentence occupies multiple spaces, propagates through many different loudspeakers, thus defining different layers of listening. some time the whole entity produces a sense of displacement, due exactly to the high amount of information that our ear is not really able to fully process, as it is immersed in a sort of labyrinth... parma is particularly important for the composition ngc 253, a sort of virtual sound sculpture realized for the outstanding "sonic chandelier" installed in the casa del suono (house of sound) in the city where he lives. the chandelier consists of 228 speakers precisely distributing sounds in the area below the installation, giving the listeners the feeling that the sound is coming from invisible sources moving just above and around their heads. this site-specific work's main constituent is anything else but 253 milliseconds of noise, taken from an old vinyl recording, that undergoes a subtle transformation, evolving and wandering in different time and spatial dimensions, but following always a spiral nature, falling from the top to the bottom of the acoustic space as a sort of "quantistic rain of sounds". this is not the only composition inspired by a specific site in this amazing cd. "coming to the temple of asclepion" was composed after a visit to the ancient temple situated on top of one of the hills of the greek island of kos, where the surrounding sounds are greatly evocative: waves breaking on the rocks  and the shrill of cicadas in a landscape made mainly of blue sky. taking inspiration from these sounds (and far from any new-age-ish reference), the composition is a sort of programmed crescendo that builds up to a drama: a high level of noise is followed by a sudden, immense, silence. what remains is the image of the "écume des mer" that climbs up the hill, bringing with it the voices of the thousands of men and women that lived there, just to make us remember once again the fragility of the human existence. last but not least, "critical_path" is a composition that once again starts from natural sounds, like water’s or wind’s, or the sound of traditional instruments like – for example – the piano, and aims to explore the intrinsic properties of the nature of each sound, in order to define a specific abstract reference model. it is realized through a sound-generation engine based on a new type of synthesis and sound models. the new sounds are multiform, almost protean, as different structures and reference models coming from different sounds co-exist within them. this makes it possible to obtain a new sonic matter, which anyway incorporates within itself some extraneous properties. a great "electronic" premiere for a composer definitely worth exploring.

luigi archetti “null ii • null iii” double compact disc set

• null ii (1) (9:26)
  
• null ii (2) (10:57)
  
• null ii (3) (6:03)
  
• null ii (4) (3:02)
  
• null ii (5) (6:12)
  
• null ii (6) (5:37)
  
• null ii (7) (5:48)
  
• null ii (8) (9:05)
  
• null ii (9) (6:44)
  
• null ii (10) (4:37)
  
  
• null iii (1) (1:03)
  
• null iii (2) (3:58)
  
• null iii (3) (2:00)
  
• null iii (4) (3:51)
  
• null iii (5) (1:41)
  
• null iii (6) (8:35)
  
• null iii (7) (5:23)
  
• null iii (8) (10:03)
  
• null iii (9) (12:25)
  
• null iii (10) (15:43)

die schachtel press release...

luigi archetti null ii / null iii format: cd description: deluxe tri-fold digipack cd edition null ii and null iii are the second and third part of the well-known italian / swiss composer’s massive electronic work on the theme of “nothing” (null), whose first part saw the light with the 2010 die schachtel “null” edition in zeitcomposers series. in this pieces archetti’s thick sound drones borders on the edge of tonality as their many layers develop with a sort of “geological” pace. the work is in fact intended as a musical research on the “interior” of sound, obtained by large masses of sound punctuated by seemingly minimalistic details. the mastery of luigi archetti conducts the listener deeply inside the musical events while at the same time introducing a model, just like the traces of a gold seam in the rocks, which the listener can follow and frequently re-encounter over the 140 minutes in which the music unfolds. the result is a trance-inducing sense of slow-motion and even stillness, alternating with subtle changes often obtained only by tiny, almost “invisible” variables. null is a vast and profound place where perception is confronted with a stream of slow-developing, sometime “still” sound. null ii & null iii will certainly appeals the fans of eliane radigue, thomas köner and long and sustained drone electronic music in general.

philip corner / manuel zurria “joy flashings” compact disc

• first travels in the new millenium (37:44)
  
• feelings (a music) (6:48)
  
• gamelan situ (16:27)
  
• stravinski could-be (5:22)
  
• joy flashings (5:39)

die schachtel press release...

philip corner - manuel zurria joy flashings dsc8 cd digipack deluxe 2011ltd 500 - 6 panel digipack deluxe a joyful product of mutual understanding between this two outstanding composers, described by manuel zurria in the booklet with the following words: philip gave me the key to enter a secret and wonderful room, full of fabulous things and made me discover a part of me i did not know. much more than a journey through sound, this work is a reflection on our modern world and the role played by music and soundscapes. it’s a journey through traditional instruments and modern techniques of sound production, from the usual electronic ones to the ultimate icon of contemporary society: the iphone. here, music has been reduced to a mere suggestion, a medium used in order to discover the potential of the player, plucking at his heartstrings. the wide range of sounds shares a common feature of the composers’ will: to experience music as a whole, without limits and boundaries related to the specific instrumental destination. two worlds melt here and the results of this blessed encounter is well expressed by the title. enjoy.

fabio selvafiorita / valerio tricoli “death by water” compact disc

• death by water (41:09)

die schachtel press release...

fabio selvafiorita - valerio tricoli death by water dsc7 cd digipack deluxe 2011 ltd 500. released in a 6-panel digipak die schachtel is proud to present death by water: a four-hand musique concrète composed by fabio selvafiorita and valerio tricoli. this one track disc has been realized between milan, where it has been composed, and giudecca island, in venice, the location of the field recordings and reel-to-reel tape treatments. the music stresses and questions the dramatic and alchemical potential of a musical landscape marked by water, as the work is intended to approach the fourth movement of t. s. eliot’s poem “the waste land”. fabio selvafiorita e valerio tricoli created a work full of narrative suggestions, visceral and metaphysical at same time iv. death by water phlebas the phoenician, a fortnight dead,  forgot the cry of gulls, and the deep sea swell and the profit and loss.                        a current under sea picked his bones in whispers.  as he rose and fell he passes the stages of his age and youth entering the whirlpool.                       gentile or jew o you who turn the wheel and look windward, consider phlebas, who was once handsome and tall as you. (t.s. eliot, the waste land, 1922)

thollem mcdonas / stefano scodanibbio “on debussy’s piano and ...” compact disc

• the memories of ourselves (4:11)
  
• they're seen from other places (4:28)
  
• now from now to now (2:34)
  
• birth of a modern mind (2:35)
  
• a child opens her ears (3:58)
  
• a lifetime away (2:27)
  
• and oceans between them (2:13)
  
• dreaming of dreaming (6:40)
  
• of living a life (4:04)
  
• with the wind (3:46)
  
• a pause before the rest (2:58)
  
• bombs rain on burial day (5:31)
  
• another century passes (3:01)
  
• jupiter mercury venus moon (2:45)
  
• the last music she hears (5:00)
  
• in return to it all once again (5:25)

die schachtel press release...

dszc6 thollem mcdonas - stefano scofanibbio on debussy’s piano and... genre: electro-acoustic, digital glitch, electronica format: cd description: deluxe tri-fold digipack cd edition die schachtel is proud to present a recording that embodies the virtuosity of thollem mcdonas and stefano scodanibbio in the spirit of claude debussy's rebellious creativity.  as terry riley wrote: anyone who has heard thollem or scodanibbio as a soloist might well imagine what a combination of their unique genius could produce.  awesome, well matched virtuosos in an ocean of sound. during the listening of this cd, you will witness the renowned talent of scodanibbio, a 21st century paganini, whose innovations on the contrabass inspired some of the most important composers of the xxth century, such as cage, berio, scelsi and stockhausen. thollem devised the improvisational scheme specifically for this occasion, demonstrating once again his distinctive sound and his unique approach to music. this album was recorded on the only piano claude debussy owned the last 14 years of his life kindly loaned by the city of brive-la-gaillard and musee labenche of art and history. thollem and scodanibbio’s improvisational style creates a sonic flow, resulting in a unique combination of historical and contemporary musical genius. in his liner notes for this album terry riley continues, an imaginative idea, wonderfully realized with virtuosity, improvisational mastery and intuitive communication of deep sensibility all residing here in the magical marriage of their artistry.

angelo petronella “rimandi e scoperte” compact disc

• parte 1 (12:54)
  
• parte 2 (19:24)
  
• parte 3 (14:40)

die schachtel press release...

angelo petronella rimandi e scoperte genre: electronic music format: cd description: deluxe tri-fold digipack cd edition long awaited new album by the enigmatic composer angelo petronella, in a superb piece of electroacoustic microsound, intertwining scrupulous minimalism, environmental recordings, and an intense glacial drone nebula. angelo petronella is a »missing link«, a unique artist drifting to and from between classic instrumentations and electronics. he has been raised at the drums, initiator of  the legendary insiememusicadiversa collective ensemble in the mid 70s, then fallen in love with the early synthesizer and computer, sound installation an field recordings: the range of sound worlds he has traveled so far, with brilliant but little known results, encompasses classical instrumentations, tape manipulation and state-of-the-art computers.

osvaldo coluccino “neuma q” compact disc

• untitled (1) (16:04)
  
• untitled (2) (4:17)
  
• untitled (3) (3:32)
  
• untitled (4) (18:14)

die schachtel press release...

osvaldo coluccino neuma q genre: electronic music format: cd description: deluxe tri-fold digipack cd edition the new addition to the die schachtel 'composers' series, osvaldo coluccino "neuma q" is an utter immersion into the purest electronic sound, exploring a broad spectrum of electroacoustic phenomena, low-end drone, magically constructed and sequenced in a way that preserves its intimate feel. the composer as a seismograph of both the inner and the outer world and the composition as a record of a momentary, a musical horizon that combines four pieces that defy any standard modern music evaluation criteria and explore new spaces of sound. osvaldo coluccino (1963), is a composer and poet. his compositions have been commissioned by biennale musica (biennale of venice), milano musica (teatro alla scala), orchestra sinfonica nazionale della rai (rai nuova musica), compagnia per la musica in rome, and have been also performed at several international festivals.

luigi archetti “null” compact disc

• untitled (1) (2:24)
  
• untitled (2) (8:01)
  
• untitled (3) (5:37)
  
• untitled (4) (6:28)
  
• untitled (5) (2:32)
  
• untitled (6) (6:08)
  
• untitled (7) (5:47)
  
• untitled (8) (6:53)
  
• untitled (9) (3:19)
  
• untitled (10) (2:56)
  
• untitled (11) (2:52)
  
• untitled (12) (2:55)
  
• untitled (13) (2:48)

die schachtel press release...

luigi archetti null genre: electro-acoustic, digital glitch, electronica format: cd description: deluxe tri-fold digipack cd edition “what can we hear now? a sound, as though grains of sand trickle down onto a fine membrane….” this sound, as though grains of finest sand trickle onto a membrane–the last thing that the narrator in stanislaw lem’s “solaris” hears when he starts out on his journey to a world that is falling apart–is the most fitting way to describe the characteristics of luigi archetti’s music null. stylistically, the compositions can be placed within the field of planar tonal design, and with this, also an experimental treatment of static sounds and microtonality, out of which finally something like monolithic sound sculptures have emerged. oscillating in filigree nuances, the modulation of a drone that seems to last an eternity alone indicates that the sense of real time has been canceled–while, at the same time, another acoustic track surfaces like a distant memory, only to disappear again. one begins to think that a sonorous world has come to a standstill or has been silenced. soon, however, a sonic texture gradually begins to spread, scraps of sound seem familiar for a moment and already disappear again before one can grasp them; in the meantime the lower-frequency oscillations of the sound crawl under one’s skin in the form of vibrations. a feeling of strangeness and disconcertment becomes physical. with this the senses are automatically sharpened; all ears, one dives into a universe of sound, which is something different and more than what one can decipher acoustically. a universe of sound particles spreads out, in which the sounds provide no references to a possible location. what the ear might consider to be the crunching sound of snow crusts, the deep droning of ice breaking, the scraping of migrating glaciers is often merely an acoustic hallucination, while actually the sounds have been composed using the finest of sound particles, which archetti’s ear has taken from completely different sources, such as the hum of generators, or the white noise of a blank video tape being played, or drone sounds created with the e-bow, which he extracts from his electric guitar (often with scordatura tuning). an intermediate realm is created in which acoustic sedimentations are layered into a sound tapestry so dense that it feels like there is almost no air left to breathe or to hear with anymore. but it also draws one in like an invitation to journey further into unexplored regions, a journey through timeless and spare acoustic events with a rivetingly hypnotic effect.

girolamo de simone “shama” compact disc

• luciano (0:58)
  
• vinile (2:12)
  
• distrazione (1:47)
  
• ribattuto (0:58)
  
• in albis (1:32)
  
• campane o della solitudine (4:22)
  
• zi’ giannino (1:11)
  
• sogni, excorcismi #1 (1:08)
  
• sogni, excorcismi #2 (1:30)
  
• sogni, excorcismi #4 (0:50)
  
• sogni, excorcismi #8 (1:41)
  
• chiari (8:08)
  
• vinile #2 (0:51)
  
• sketch (5:11)
  
• questa terra (1:45)
  
• improvvisa! (5:25)
  
• aure (1:33)
  
• organza (1:42)

7k oaks “entelechy” compact disc

• seon avalanche (17:06)
  
• soziale plastik (7:10)
  
• labor anti-brouillard (12:19)
  
• at last i am free (6:53)

die schachtel press release...

7k oaks entelechy dsz13 cd digipack 2011 ltd 500, 6 panel digipack the second full-length album by the experimental / free-jazz quartet 7k oaks, live recorded in concert at the interact festival in hasselt. this new release is at the same time a confirmation of their musical background as well as an exploration of new territories: about an hour of full-blast energy, with a variety of directions ranging from walls of electro-acoustic noise to free-jazz bursts, hypnotic rythmic patterns and lyrical melodic themes. it is the entelechy of an acorn to be an oak tree: the music flows naturally through the tracks of the disc, thanks to the mastery of these outstanding performers, able to drive the listener amongst the unexpected twists of their music in order to appreciate every pleat of their timbre. in short, entelechy has it all: alfred 23 harth (cassiber, otomo yoshihide new jazz quintet) blistering tenor squall, fabrizio spera (ossatura, blast) limitless percussion, luca venitucci (zeitkratzer, ossatura) ceaselessly inventive keys and massimo pupillo (zu, original silence) masterful bass created unquestionably a masterpiece.

nicola ratti “220 tones” compact disc

• air resistance (4:59)
  
• untitled #1 (7:45)
  
• doom set (5:48)
  
• untitled #2 (3:56)
  
• twin set (4:51)
  
• cathrina (6:35)
  
• empire (3:02)

die schachtel press release...

nicola ratti 220 tones dsz12 cd digipack deluxe 2011 ltd 500. released in a 6-panel digipak die schachtel is proud to present 220 tones, a disc that points out a crucial change in the artistic life of the well-known guitarist and composer nicola ratti. this brand new dimension strengthens the craftsmanship to which this amazing artist has accustomed us and, at the same time, marks out the discovery of a melodic side of rhythm and a new taste for electricity used as creative energy. in 220 tones, nicola ratti chose to play instruments that cannot live without electric tension, such as synthesizer, farfisa organ, record player, electric guitar, reel-to-reel recorder and crt television. the relationship between the material instruments and the untouchable electrical flow brightens the instruments themselves and creates a deep energy and an intense atmosphere that streams through the whole music. all this is merged with an innovative use of rhythm, forcing you to wander between techno and electro-acoustic music. the perfect balance between all these features is proficiently combined with both the mastery of the musician and the imagination of the composer, making you feel the charm and seduction of live performance much more than the recording dimension. 220 tones requires an intense and attentive listening and it should be enjoyed as a whole.

3/4hadbeeneliminated “oblivion” compact disc

• untitled (1) (17:00)
  
• untitled (2) (7:14)
  
• untitled (3) (5:12)
  
• untitled (4) (9:35)
  

die schachtel press release...

3/4hadbeeneliminated oblivion dsz11 cd digipack deluxe 2010 ltd 500 copies die scahchtel is very happy to present the long-awaited return of 3/4hadbeeneliminated. the group (guitarist/double bassist stefano pilia, turntablist/sound assembler claudio rocchetti, tape manipulator/vocalist/guitarist valerio tricoli and percussionist toni arrabito) has created a work which is at the same time new and refreshing and yet completely consistent with their vision: a deep interaction between human, environment, traditional instruments and live electronics that creates a floating atmosphere filled with a natural energetic flow which borders on the psychedelic. thanks to the versatile use of the voice, capable of experimenting new solutions and suggestive ways of emission, and to the instrumental and electronic surround, they are able to create a three dimensional space, also thanks to the continuous switch between a concrete, rough world and a dream-like one. "oblivion" is their fourth full length album, and a further confirmation of the outstanding talent of these italian musicians.

attila faravelli “underneath the surface” compact disc

• untitled (1) (3:31)
  
• untitled (2) (4:32)
  
• untitled (3) (7:13)
  
• untitled (4) (3:00)
  
• untitled (5) (3:59)
  
• untitled (6) (8:52)

die schachtel press release...

zeit10 cd (new italian electronica) attila faravelli – underneath the surface tri-fold digipak – embossed print since the very first notes, this music appears to be about memory, decay and subversion. it is a deep investigation on the ability of sounds to freely attract or reject each other, in accordance with their own nature and disposition, and still maintain their meaning. combining dense, multilayered sheets of synthetic sounds, treated bass, electronic percussion, the six tracks reveal their non-architectural principle as the music develops through warm textural details, reverberations, underlying melodies, like microscopic events happening in a dim light underneath the surface.

7k oaks “7000 oaks” compact disc

• church of neutral (4:35)
  
• foxp2 (17:10)
  
• strategy of tension (20:39)
  
• pi too (9:20)
  
• the invisible tower (10:31)

andrea belfi “knots” compact disc

• parte prima
  
• parte seconda
  
• parte terza
  
• parte quarta

alessandro bosetti “exposé” compact disc

• exposé #11 (18:51)
  
• exposé #10 (22:28)
  
• exposé #16 (28:12)

bachi da pietra “non io” compact disc

• casa di legno (4:02)
  
• altri guasti (4:04)
  
• non io (3:40)
  
• fisica elementare (5:51)
  
• lunedi (3:17)
  
• farfallazza (5:53)
  
• check life (4:19)
  
• bastiano (1:40)
  
• giorno perso (5:05)
  
• ofelia (3:44)