Theory of vortex sound [outflux I]

by Franz Rosati

supported by



As in his past works like Pleisochronous [Dharmasound-2007] or Fields [Brusio Netlabel-2011], Franz Rosati uses scientific metaphors to describe his sonic macrostructures.
Field recordings and old folk music from Middle-East and Europe are the basic material for Theory of Vortex Sound in which they’re transfigured and distorted, melted together and structured in sound masses flowing from a matter state to another, with the aim to handle sound and its informations like a fluid apt to pressure, oscillation, drifts and tension. Macrostructures are compared to a fluid like the rippling effect in the sea, the increasing velocity of a magmatic flux or the steady state of water in an artificial lake. Theory of Vortex Sound is live recorded in a studio situation with the same custom made software used by Franz Rosati in live performance and with no additive post-production intervention that is minimal and limited to find the right balace to listening and preserving dynamics and original timbral character of the basic sound material.


released November 29, 2011

/*=================== PRESS:

For those living in industrialized nations, this is a more apt soundtrack to the modern world than the “natural” sounds that surround us.
- A Closer Listen

...questo rumore è una coltre che copre un minimo accenno melodico/musicale e con esso gioca di contrasto o la sfoca e disturba come in qualche foto scattata con un obiettivo rotto, un po’ come in Hecker o Fennesz, ma non bisogna affatto pensare che Theory Of Vortex Sound sia un disco così romantico, basta pensare al rhytmic noise di “Conservation”.
- Audiodrome

Una mezz'ora abbondante di musica variamente ritmata che vive di microsuoni e bordoni, fredda ed imperiosa.
- Sodapop





feeds for this album, this artist