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 29 November 2011
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”.
Una mezz'ora abbondante di musica variamente ritmata che vive di microsuoni e bordoni, fredda ed imperiosa.