Galaverna is a platform for multimedia, sound-and-art productions based in Italy that mainly operates in the area of electroacoustic and experimental music, with a specific referral to the landscape/soundscape aesthetics.

Galaverna comes as a sister label of Laverna, a net label working under Creative Commons licences, active in the field since the early '90s in creating multimedia productions and live performances that combine music, visuals and words.

Galaverna is run by Enrico Coniglio and Leandro Pisano.


Galaverna is not a record label, it’s not just a net label either and it doesn’t operate in the marketplace.

Galaverna, as a music label, is a digital label ONLY. We decided that our planet is already filled enough with plastic, so, please, do not burn our music on CD-Rs.

Galaverna releases only a work per season (exceptions allowed).

In a world where musical industry is inevitably fading and illegal downloads are taking over, Galaverna aims to be a model of ethical behavior.

In a world overloaded with music, Galaverna aims to be a model of ethical behavior for artists. Our motto is: RELEASE LESS, SAVE MORE.

Please note that

Galaverna’s main goal is to bring the degrowth concept into music (in French: décroissance, in Spanish: decrecimiento, in Italian: decrescita). As we reached a point where the production of material goods seems to be set on a path of ever-increasing growth, and even if an everlasting growth has been the capitalistic systems goal for over a century, it has now become crucial to adopt a more sustainable lifestyle. To bring these considerations into the music field means to curb both the unlimited production of music as well as the consumption itself. We believe behaviours so closely related to the logic of consumerism must be eliminated in order to devote ourselves to the true, caring and deep experience of music making/listening.

Artists involved in Galaverna must agree to this.

Stefan Militzer & Roland Etzin “O/live” out now

We are delighted to announce the release of "O/live" by Stefan Militzer & Roland Etzin. Click on the image below to go to the release page.

Galaverna is partner of SPEED OF SOUND – an open call by VacuaMoenia

Following the ideas of "Handbook for Acoustic Ecology" by Barry Truax, VacuaMoenia proposes an OpenCall for sound-artist, musicians or simple aware listeners to celebrate two years of researches and activities. ...

Galaverna forthcoming releases

Galaverna is glad to announce that the two forthcoming works will be "O/live" by Stefan Militzer & Roland Etzin and "Ascensión" by Konrad Korabiewski. March 21st our catalogue will add ...

Greetings from Galaverna

Season's greetings and sincere wishes for a bright and happy New Year from the Galaverna staff, Enrico, Leandro, Lorenzo and Gaia. Thanks to all are supporting our work.

    O/live Stefan Militzer & Roland Etzin


    cat: gal 0121
    date: mar 21 2014

    time: 22:44

    download as:

    AIF [210,2 MiB]

    MP3 [48,0 MiB]

    O/live The relationship between vibration and listening perception happens to be more and more in the focus of research and discussion also in the aesthetic practices developed outside the academic environment. It is a reflection fueled by the questioning of different concepts, such as the relationship between processes both natural and artificial, the sonic anthropocentrism, the musicological reading of events tied to sonic landscapes.

     And these are the themes developed by German sound artists Stefan Militzer and Roland Etzin with their work, which enriches Galaverna’s catalogue with a proper study on vibration, in which sonic particles are captured in their fluctuations around auditive perception limit and they float releasing energy and shaping patterns and rhythmic structures in constant motion.

    In this continuum, where natural and artificial become inseparable, pulsations and rhythms become ciphers of a code to (re)read a reality, in which sonic phenomenons are partially precluded from ear perception. From this point forward everything is movement, at a molecular or quantum level. Everything vibrates, releasing information, which, as stated by Stefan Militzer and Roland Etzin in the presentation notes, “express vitality and, ultimately, unveil the seed of life in every existing thing”.

    Notes from the artist  The world is constantly vibrating. There is a swinging in the air. Rivers flow and so does blood. Even the ground is moving from time to time under massive strokes of energy. The travel of energy happens in waves and by vibration. Thus, the beating of a heart appears to have a similar shape like the way energy travels through oceans and continents. The omnipresence of waves equals the power musical oscillation possesses for expressing energy. This energy does not only travel around the world but it bears what the world consists of. The ubiquity of energy, of vibration and oscillation also lies behind John Cages observation that true silence can only be found in death.

    "O/live" circles and meditates around the interpenetration of the world by vibration. Waves of sounds and noise gather to form patterns and rhythmic structures. The artificial as well as natural origin of the sounds renders apparent that through the perspective of waves and oscillation no distinction between the organic and the inorganic world can be made. There are pulses and rhythms everywhere in the world. Natural patterns and artificial sequences intermingle inseparably. Their differentiation from a perspective of musicality would be futile. But communication happens nevertheless. In "O/live" oscillation creates patterns of repetition from which rhythm is derived and further transformed into vibes that spread information by expressing vitality and, thus, unraveling the seed of life in everything that exists.


    Creative Commons License
    O/live by Stefan Militzer & Roland Etzin is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
    Permissions beyond the scope of this license may be available at



    Świat nieustannie wibruje. Nakładem włoskiej platformy Galaverna ukazał się wspólny materiał dwóch niemieckich twórców: Rolanda Etzina – współzałożyciela wytwórni Gruenrekorder, artysty dźwiękowego bazującego na technice field recordingu, członka formacji Autumn Appreciation Society i Stefana Militzera – filozofa i naukowca, poszukującego w swojej działalności artystycznej sensorycznych i językowych doświadczeń. Na płycie „O/live” (znalazło się jedno dłuższe nagranie, które można pobrać za darmo w dwóch formatach AIF|MP3 – tutaj) artyści sprawnie poruszają się między tym, co naturalne a wytworzone przez odpowiednie zabiegi w studiu – w tym sensie, że szukają wyjątkowych wibracji, rytmów, drgań, fal oraz struktur, które często są poza ludzką percepcją. Przez co chcą pokazać, że świat naturalnych dźwięków miesza się cały czas ze światem „sztucznych” odgłosów i to na poziomie molekularnym, jak i kwantowym. Ich zdaniem rozdzielanie tych dwóch płaszczyzn nie ma najmniejszego sensu.




    Galaverna is partner of SPEED OF SOUND – an open call by VacuaMoenia

    Following the ideas of “Handbook for Acoustic Ecology” by Barry Truax, VacuaMoenia proposes an OpenCall for sound-artist, musicians or simple aware listeners to celebrate two years of researches and activities.

    The topic chosen investigates on “the propagation of sound” in a landscape, defined by Truax like Geometric Spreading, Atmospheric Effects and Surface Effects. Thus, the topographical elements – such as soil, hills and other obstacles – between source and receiver alter and shape the sound message. The OpenCall “SPEED OF SOUND” invites to reflect about the various aspects that make up the landscape, on the modifications, on the alterations and how biophonies, geophonies and antrophonies intersect each other to completing the acoustic environment.
    For guidelines and details about the call please visit the VacuaMoenia website.
    DEADLINE – March 14th, 2015 on 6pm


    Galaverna forthcoming releases

    Galaverna is glad to announce that the two forthcoming works will be “O/live” by Stefan Militzer & Roland Etzin and “Ascensión” by Konrad Korabiewski.

    March 21st our catalogue will add the contribution of two German sound artists Stefan Militzer and Roland Etzin, who had investigate, with the piece “O/live”, the multi-faced declinations of the vibrations generated by a pattern of rhythmic repetitions. These repetitions, in the authors words, “spread information by expressing vitality and, thus, unravelling the seed of life in everything that exists”.

    June 21st, our label will release “Ascensión”, a new piece by Polish | Danish | Icelandic | German award winning sound artist and curator Konrad Korabiewski, also director of the Icelandic artist collective and curatorial platform Skálar | Sound Art | Experimental Music. In this work, lomography and audio, he will narrate through the point of view of sound and image a suggestive and fragmented journey suspended on the populated area of the Chilean city of Valparaiso, an experience repeated with 8 different elevators.


    AC Jay-Dea Lopez


    cat: gal 0120
    date: dec 21 2014

    time: 32:53
    download as:

    AIF [307,1 MiB]

    MP3 [72,9 MiB]

    AC The concepts of place and space have become the fundamental elements of contemporary trans-disciplinary research on sound and soundscapes. Thanks to the contribution of acoustic ecology, theories of sound art and the inquiries of sound artists operating in different digital music scenes, these themes now represent both new research domains and places for a deeper reflection on the role and reception of all sound forms. Jay-Dea Lopez’s work marks a significant contribution to this analysis. He provides a possible re-consideration of sound’s potential and of all practices sound related, whereby the complex steps of creative processes shape new spaces.

    With “AC”, Lopez, native to Australia, questions the relationship between field recording, often used as a practice to investigate exotic and distant places, and the intimate dimension of the domestic acoustic space. This analysis is developed both on a spatial level and on the fringe that separates the audible from the inaudible. “AC” fascinates the listener with its capacity to balance sonic complexity with the openness of its soundscape, creating very suggestive atmospheres.

    “AC” is a sound enquiry developed on different levels. The final result is a study that represents the surrounding environment as a space-time continuum, a place in which universal and particular elements intersect in complex ways. The work transcends the dimension of pure documentation of objects and sound spaces. By presenting unexplored places “AC” builds a strong emotional aesthetic capable of involving the listener in a process of great synesthetic and imaginary possibilities.

    Notes from the artist When we think of the concept of “place” we often do so in a context that focuses on vast exteriors. As field recordists we regularly position ourselves in grand locations with microphones directed towards the sounds of exotic forests, river systems, mountain ranges or the frozen Polar Regions. But what of the place in which we live - our domestic soundscape. How do our smaller private worlds connect with these public exteriors?

    "AC" (alternating current) ponders on the relationship between home and its outer perimeters. Layers of field recordings convey the sounds of electricity that run between my domestic sphere and the local farming community and sub-tropical forests. Here electricity is an invisible, and often inaudible, thread that holds us to a bigger notion of place. It is a grid that dissects and connects the earth beneath our feet.

    Thanks to the Galaverna team for giving me the freedom to work within my own aesthetic. Thanks also to those who take the time to listen.


     Creative Commons License

    AC by Jay-Dea Lopez is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
    Permissions beyond the scope of this license may be available at



    Australian field recording artist Jay-Dea Lopez‘s recent release on Galaverna, AC, is a study of the relationship between domestic and distant or exotic spaces in the practice of field recording. In addition to field recordings themselves, he uses sounds of the electricity (or alternating current) that symbolically and physically connects both those spaces to one another and each of them, in turn, to the recording device itself. With such a title, it is unsurprising that electronics are present throughout the piece. While they are usually brought to the forefront, are occasionally mistaken for the fields themselves, and other times slip into the mix, for better or worse they are literally omnipresent. To be fair, I have an aesthetic penchant for some of the particular brands of lowercase glitchy electronics on display in AC. If one does not enjoy that style, then AC may make for a difficult listen. The question, then, is do they add or subtract from the various field recordings that pass behind them? I say behind purposefully, as the overarching dynamic impression of the synthetic component is one of highly compressed, enhanced or otherwise amplified sound – tones and textures that the ear associates with low audibility brought to the forefront, occasionally over much diminished or under-modulated fields that would obviously be rather loud in situ. Perhaps in an effort to avoid some of the quotidian elements of the audio palette that direct recordings of A/C flows offer, the electronic components of the piece are frequently loop-based, or otherwise rhythmically structured. This can sometimes offer great interplay with the fields (across the second half in particular), but they can also come across as too artificial or arbitrary in relation to the sections where the fields are less dynamic or drone-based. By way of example, towards the end of the first act, beeping and hissing sine waves are backed by quietly running water – a pedestrian contrast in tone and texture. At nearly exactly the halfway mark the loops that have frequented the piece so far begin to build and complicate, and the recording takes on a studio feel. That the see-sawing ticks, hisses, and flares of shorting circuits are indiscernibly either computer generated, acoustic recordings of electronic devices, or fields of insects, of security systems, or of the recorder itself is the most engaging facet of AC. This section alone is worth repeated listens. Its remainder, though not quite achieving the curious and cohesive sound of the second act, benefits from maintaining a more rhythmic structure. Bird calls, crickets and other arpeggiated or repeated fields feature more prominently and produce a variety of syncopated beats both amongst themselves and alongside the electronics. While the latter change little across their breadth, these interactions give the appearance of a dynamic work – rather symbolically placing the role of the field recorder (device, person) in AC itself. My thoughts on the relatively stolid nature of the digital detritus that spans the work are mixed. It adds a thematic appeal to an otherwise very diverse set of field recordings, though it can also sound tiresomely repetitive. Diminishing its effectiveness is the frequent use of slow fades and pans across the work, producing a rather sanguine tone. On the other hand, there are some interesting meta-structures in AC. The piece rhythmically moves between noisier drone sections and more pointillistic ones, providing some metre. Lopez also arranges the track loosely as a palindrome, with a number of sound sources from the opening act reappearing in its dying minutes (including a delightful pseudo-purr that I could listen to over and over again). Hearing them reframed in a new field under different modulation is also a nice touch. AC provides some incongruous listening experiences, where the acoustic and digital elements seem somewhat arbitrarily cut-and-paste. However, it also delivers some wonderfully cohesive soundscapes, where the dynamic and textural elements of the diverse sound sources complement each other beautifully. It makes for a lilting listen, as the ear periodically dis- and re-engages with the music. Whether the effect is latent or intended, it is at least pleasant. An enjoyable release, and certainly one to encourage finding more of Lopez’s work. Get it as a free download direct from Galaverna, or stream it on Bandcamp.


    Jay-Dea Lopez hits with the high pitched frequencies on “AC”. The recording focuses on the simultaneous interaction between sine waves and the natural world. As sine waves are things that do not occur in nature the result is something oddly compelling. AC reflects upon a world similar to that explored by Onkyokei. Unlike that movement’s music Jay-Dea Lopez acknowledges the natural world incorporating it into his sonic vocabulary. Aspects of it recall the day to day digital hum of the world but while allowing the background sound of life to seep in. Beginning with an animal-like murmur the piece starts off quietly. This repetitive structure helps to serve as a rhythm of sorts. Focus is on the tiniest detail possible. Gradually the digital elements subside to reveal conversations in the background. Such detail only serves to highlight the calming effects of a quiet night. Indeed the high pitched frequencies mirror that given off by the insects. Crackles of the sound mimic that of radio static robbed of the opportunity to transmit new waves, simply staying stationary. Around the ten minute mark the piece begins to delve deeper into the bass frequencies that have helped to guide the rest of the sound. Halfway through the piece the sounds become heavily related to that of glitch. By the very end of the piece everything has calmed to reveal the piece’s true starting point that of gentle hiss. “AC” is a polychromatic piece remixing life into the digital realm.




    Next release in Galaverna by Jay-Dea Lopez

    Galaverna is pleased to announce that next December 21st its catalogue will be enriched with the contribution of Australian sound artist Jay-Dea Lopez, who will release “AC”, a work focused on sound exploration of the concept of “place”. With this contribution, the artist, based in the village of Main Arm, New South Wales, questions the relationship between field recording, often used as a practice to investigate exotic and distant places, and the intimate dimension of home-listening. This analysis is developed both on a spatial level and on the fringe that separates the audible and the inaudilble, managing to fascinate the listener for its capacity to handle the balance between complexity and the capacity to open the soundscape to very suggestive atmospheres.

    Jay-Dea Lopez’s release will be the last of 2014. This year, many important contributions were brought to Galaverna, such as the works of Pietro Riparbelli, Fabio Lattuca and  Pietro Bonanno, but also Miguel Carvalhais and Pedro Tudela. With the firm conviction that this work will follow the trail designed so far, with a programme that holds a lot in store for the months to come.

    Borgo Schirò, Churchscape VacuaMœnia (Fabio R. Lattuca, Pietro Bonanno)

    cat: gal 0110
    date: sept 21 2014

    time: 22:51
    download as:

    AIF [202,2 MiB]

    MP3 [65,7 MiB]

    BORGO SCHIRO', CHURCHSCAPE As part of the series of practices connected with sound geographies emerged in the milieu of post digital era, exploration of abandoned places is one of the most productive field of research for some sound artists. Though the listening prospective, those artists are able to project a new light on marginal spaces and architectures and to make them into fundamental elements of unexpected and fascinating landscape narrations.

    This is the case of  Fabio R. Lattuca e Pietro Bonanno and their project Vacuamœnia, which they have been working on for some years now and consist in a capillary sound study of several abandoned villages in the Sicilian hinterland, colonial outposts erected in rural areas during the Fascist era/period or evacuated due to calamities. The new episode of this polysemous and fragmented sonic narration is “Borgo Schirò Churchscape" and it is articulated in a long audio track and presented along with a critic text by the authors, which meditates on the meaning of acoustic exploration of the “Terzo Paesaggio”, based on their experience on the ground and focusing on the details of their meticulous process of continuous refinement of techniques and (trans)disciplinary approaches.

    The result of Lattuca and Bonanno’s sonic declination of the explored places is suggestive tale of silences, ruins, oblivion and distance. A story unravelled through resonances of architectures and objects, which raises significant questions on the meaning of stories forgotten by mankind but still cherished in the archive that is the landscape memory.

    So, Borgo Schirò’s Church becomes the stage of a “ghostly” performance, in which different sounds (materiality, reverberation, resonance) and space levels are entangled in a continuous flux of elements, opening up, during the listening process, several hermeneutic levels one after the other. Using the authors words, their track is “a lucid dream in which a symbolic introspection took place, guided by various meanings that the site intersected in time and space, until the circular dissolution climaxed with a return to reality”.

    Download the article Colonization and Third Scape by Fabio R. Lattuca and “Rappresenting” the sound of the church of Borgo Schirò by Pietro Bonanno [Ita/eng]. 


    Notes of the artist “Borgo Schirò, Churchscape” has been composed with field recordings made beetwen the summer of 2013 and 2014. The composition can be divided in two parts, two different but complementary visions. Two ways of looking at the same place from different perspectives.
    At first, the use of recorded materials (glass, soil, gravel, stones) creates, overlapping, delicate layers of sound, symbol of the static space. Later, however, sound characteristics of the materials are enhanced by the extrapolation of their grain, time values and resonances and proposed mixing them to a reconsideration of inner and outer diffusion space.

    Special thanks to: Enrico Coniglio, Leandro Pisano, Jon Strandberg from Telinga Mics, Eng. Angelo  Morello from the ESA office and who supports our research and who we met in this years.
    info [at] vacuamoenia [dot] net


     Creative Commons License

    Borgo Schirò Churchscape by VacuaMœnia is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
    Permissions beyond the scope of this license may be available at



    L’uscita autunnale di Galaverna (sì lo so, siamo indietro di una stagione…) mette in relazione l’etichetta veneto/barese col collettivo siciliano VacuaMoenia, che vi avevamo presentato in occasione dell’uscita della compilation Crepe. Fabio Lattuca e Pietro Bonanno, fedeli alle linee guida del illustrate nel manifesto del progetto, presentano una ricerca sonora (ma non solo) condotta all’interno della chiesa in rovina dell’abbandonato Borgo Giacomo Schirò, poco lontano da Monreale. Si tratta di un lavoro eccellente: raramente come in questo caso il field recording si rivela come musica, suonata e composta, non semplice registrazione d’eventi sonori (se ben fatto non dovrebbe mai esserlo…) ma scoperta ed interpretazione dello spirito di un luogo. Dico suonato perché i ricercatori/musicisti hanno interrogato lo spazio e i materiali creando, con la propria presenza, eventi sonori: passi, legni percossi, macerie scostate, piccioni che volano via spaventati dalla presenza dell’uomo. Il valore compositivo sta invece in una sapiente scelta nel piazzare i microfoni, cogliendo al contempo il dentro il fuori - la fissità dello spazio interno e il tempo esterno che continua a scorrere- e di attuare strategie ed utilizzare pratiche di vero artigianato tecnologico che restituiscono all’ascoltatore le emozioni e le sensazioni che sono stato del ricercatore (vi rimando, foste interessati al lato più squisitamente tecnico, all’esauriente saggio allegato al lavoro). Le registrazioni raccolte sono poi state organizzate in una narrazione nella quale il luogo, come risvegliato da anni di torpore, risponde agli stimoli e sembra per un attimo tornare alla sua antica funzione: valga per tutto l’incredibile scricchiolio prodotto dalla staccionata che recinta un lato dell’edificio che, catturato con microfoni a contatto, fa rivivere il fantasma di campane ormai da tempo scomparse. Così, nei 22 minuti di sonorità tenui e misurate ma scosse da accenti anche violenti e increspate da ritmiche insolite, all’incrocio fra spazio, tempo e suono, la chiesa di Borgo Schirò viene laicamente risacralizzata. Com’è consuetudine della Galaverna, il disco è liberamente scaricabile dal sito, mentre coerentemente alle pratiche multidisciplinari di Vacua Moenia, al file audio si accompagnano alcune immagini del luogo e un interessante saggio storico, oltre a quello tecnico di cui già si è detto. [Emiliano Zanotti]


    The project Vacuamœnia of Italian sound artists Fabio R. Lattuca sound artists and Pietro Bonanno consist in exploring the sound environment of abandoned places and especially in the Sicilian hinterland, where there are traces of colonial outposts during the fascist era or places evacuated due to calamities. ‘Borgo Shirò Churchscape' is one track only of a composition based on field recordings made in the summer between 2013 and 2014. The sound material is glass, soil, gravel and stones that have a processing according to different but complementary approaches of Lattuca and Bonanno. The slightest touch of materials handling or birdsongs and rain, generates an eerie silence while rich in nuances. [Guillermo Escudero]