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.

Fernando Godoy “Dodici” out now

We are so happy to announce that "Dodici" by Fernando Godoy has been released today 21st march 2017. Click on the image below to go to the release page.  

Next releases in Galaverna

Two exciting news for Galaverna are coming the next March 2017. We will be celebrating our 5th year anniversary with a special release by French sound artist Amandine Casadamont, based ...

Kate Carr “Holding My Breath In Imaginary Ponds” featured on The Wire’s first Resonance FM show

Kate Carr “Holding My Breath In Imaginary Ponds” from Endings has been featured on The Wire's first Resonance FM show of 2017, by Daisy Hyde. Enjoy.

Kate Carr “endings” out now

We are so excited to announce that "endings" by Kate Carr has been released today 21st december 2016. Click on the image below to go to the release page. Check also ...

    Dodici Fernando Godoy

    cat: gal 0210
    date:  21 mar 2017
    time: 13:52

    download as: 

    AIF [129,1 MiB]

    MP3 [32,2 MiB]


    Dodici Chilean-based sound artist Fernando Godoy uses diverse media to research sound as a social and natural phenomena, being interested in the relationship between aural experience and territory.

    Through his practice, focused on field recordings, DIY technologies, electronics, sound installations, sound performances, radio works, web projects and experimental composition, Godoy deals with many topics related with social spaces and communities.

    As twenty-first release of the Galaverna catalogue, “Dodici” is an album based on field recordings taken during the Liminaria sound art residency that took place in July 2016. It draws on candid conversations, manipulated sounds, voices and noises from the village of Montefalcone di Valfortore. “Dodici” is a work presented for the first time during Liminaria exhibition as an installation, in which sounds of the bells have been transduced into two antique copper pots, while in a family dish a series of stories, chants and poetry were transduced giving to the human voice a metallic tonality. Also in the family dish, there was transduction of sounds recorded during the preparation of different dishes that were cooked in a series of houses.

    All these sounds merge into a fourteen minutes voyage between past and present, in which different elements emerge: old and new traditions, the importance of giving back to the local community that has welcomed him and the complexity of village transformation.

    “Dodici” appears definitely as a delicate and dense composition, a fascinating soundscape floating between different times and imaginative and physical spaces that invites the listener to make experience of an hybrid and evocative environment and to question his/her relationship with rural territory in the contemporary age.

    Note from the artist Dodici is a stereo version of an installation that was presented in the rural village of Ginestra, Southern Italy, during the Liminaria Festival 2016.
    The work was born during a double residence (in the rural areas of Pollinaria and Montefalcone) where a project of sound recording of the kitchens of rural families was developed. There were recorded preparations, interviews and stories, including poems and old songs that talked about food. In addition, during the period of residence in Montefalcone, recordings of the sound of the bell were made, due to the importance of this sonority in the town as also because some stories linked the bell with the daily rituals of feeding.
    This resulted in an installation in a dark room, which used an old furniture provided by a Montefalconese lady, including a table, a chair, a lamp, a metal plate and two copper pots. The installation generated a listening experience from the use of transducers on a plate and the pots, where the metallic "speakers" reproduced a three-channel version of the audio that constitutes this publication.
    Dodici es una versión estereofónica de una instalación que fue presentada en el poblado rural de Ginestra, al sur de Italia, durante el Festival Liminaria 2016.

    La obra nace durante una doble residencia (en las zonas rurales de Pollinaria y Montefalcone) en que se desarrolló un proyecto de registro sonoro de las cocinas de familias rurales. Allí fueron registradas preparaciones, entrevistas y relatos, incluyendo poemas y antiguas canciones que hablaban de la comida. Además, durante el periodo de residencia en Moltefalcone, se realizaron registros del sonido de la campana, debido a la importancia de esta sonoridad en el pueblo como también por que algunos relatos vinculaban la campana con los rituales cotidianos de alimentación.

    Esto derivó en una instalación en una sala a oscuras, que utilizó un antiguo mobiliario prestado por una señora montefalconense que incluía una mesa, una silla, una lampara, un plato metálico y dos ollas de cobre. Esta instalación generaban una experiencia de escucha a partir del uso de transductores sobre un plato y las ollas, donde estos "parlantes" metálicos reproducían una versión a tres canales del audio que constituye esta publicación.

    Sound artist and producer based in the city of Valparaíso. 
    His work is focused on sound research and listening as cultural and physical phenomena. His pieces include site specific works as well as performances, installations, radio works and web projects. His work has been presented in Chile, Peru, Canada, Estonia, Italy, Germany and Australia.

    He is currently the director of Tsonami Sound Art Festival, co-editor Aural sound art magazine, artistic director of Tsonami Radio and editor of the platform


    Creative Commons License

    Dodici by Fernando Godoy is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Permissions beyond the scope of this license may be available at



    Fernando Godoy’s “Dodici” amplifies the smallness of how one lives in a space, giving an aural snapshot of what it means to be content with life. The strange Zen of the recording is undeniable. Within the piece, Fernando Godoy looks for the truth held deep within sound. Over the course of the piece the way that the sound evolves feels right, honest, and direct with the listener. Microscopic in nature, the piece delves more than in the mere textures of sound, for a few moments bloom into outright understated bliss with improvised singing and chanting occurring at irregular times. The piece begins with a serene ringing. From there the sound moves on to a more human approach. A soliloquy begins one which seemingly roots the entirety of the sound. Right in the distance there is a snippet of machinery whirring with great effect in the background. Upon finishing with their soliloquy Fernando Godoy focuses on boiling, with the small sounds that it brings makes it feel real. Bubbling works wonders in creating color for the piece. Once this a group of individuals sing together out of happiness. Such a seemingly random occurrence gives the piece a kind of rare celebratory spirit. Rings punctuate and eventually overwhelm their singing. Upon the final moments of the sound a soothing resonant voice speaks deliberately with all else edited out. Downright serene, Fernando Godoy chooses the path less traveled on the bright brilliant and sunny sound of “Dodici”.


    Next releases in Galaverna

    Two exciting news for Galaverna are coming the next March 2017.

    We will be celebrating our 5th year anniversary with a special release by French sound artist Amandine Casadamont, based on a work made out of ready-made vinyl sounds. It draws on sources deconstructed and reconfigured in a new hybrid composition, designed to transcend new and old.

    Then we are happy to announce the release of “Dodici”, by Fernando Godoy,  electronics engineer, sound artist and producer who lives and works in Valparaíso, Chile. His work is based on the Liminaria sound art residency held in Campania on 2016,  where the artist has explored sounds and tales of food and tradition of the village of Montefalcone di Valfortore.

    Stay tuned.


    Kate Carr “endings” out now

    We are so excited to announce that “endings” by Kate Carr has been released today 21st december 2016. Click on the image below to go to the release page.

    Check also the film “A long meditation on airports (no fire/fire)”, shown at the Transition exhibition at the Leksands Kulturhus from October-November 2016.

    endings Kate Carr

    cat: gal 0200
    date:  21 dec 2016
    time: 42:50

    download as: 

    AIF [382,9 MiB]

    MP3 [99,9 MiB]


    endings Australian-raised, currently UK-based field recordist and sound artist Kate Carr creates sound worlds based on field recording with an intellectually daring approach, focusing on sound as a sculptural matter and opening a conscious space for listeners where to discover unexpected gateways of significance. As twentieth release of the Galaverna catalogue, “endings” is an album that brings together ten pieces made in the last four years, which came to symbolise a finishing of some sort, combining different tones and moods, some quite humorous, other more serious.

    It draws on an imaginative sound manipulation and collage process that combines a wide range of sonic materials collected in various places and situations, as an ending year tribute full of acoustic memories of imagined and real worlds, as she states. “Given it is an end of year release, and also how much of a difficult year 2016 has been in many ways and for many different peoples, I thought this was a nice theme to bring everything together.”

    In its multilayered soundscape, “endings” appears as a journey in which we can cross places and memories, experiencing them while listening as emotional geographies not only to inhabit but also to shape as a continuous resonant space.

    Note from the artist This album marks multiple and multifaceted endings, cleavages, stoppages and breaks. My life over the past three years has been shaped by constant travel, a feeling of drift, of being unmoored. One aspect of such a nomadic existence which is not often dwelt on is that in constantly arriving at new places, I have also been constantly leaving, and this album is centred on investigating the endings that leaving entails. The peaceful farewells, the relieved escape, the shocking cleavages, the connections cut short and left hanging, the resolved, and the unresolvable, the comical and the surreal. It brings together many pieces I've made from 2013 to 2016 which in someway mark an endpoint, and which together in this release have somehow found a home together. At the end of 2016, a year which for me, like so many others I know, has been by turns difficult, shocking and very sad both personally and politically, this is as hopeful an arrangement as I can manage. 
    Tracks 2,5,6 and 9 mastered by Taylor Deupree at 12k Mastering.
    Tracks 1,3,4,7,8,10 mastered by Kate Carr.

    Creative Commons License

    endings by Kate Carr is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Permissions beyond the scope of this license may be available at



    Kate Carr is a global sound student. Her journeys, both physical and metaphorical, have opened her ears to the possibilities inherent in space-based sound: the ability to pinpoint a sound to a specific location, as well as the threads that connect related sounds found in different locations. endings is a tribute to places and things left behind: countries, friends, years. On this album, she collects various pieces from her travels, revisiting and re-contextualizing her experiences. When listening, one track seems unlike the others; but watch the video (below) and everything makes sense. "A long meditation on airports (no fire/fire)" frames the blur of travel: rain-soaked windows, yearnings, arrival and departure charts. And over it all, an announcer who seems at first comforting but eventually clueless: "there is no fire in the building", then "please leave the building immediately." The dichotomy of "fire/no fire" summarizes our thoughts of travel as dangerous/alluring. The rest of the album operates as a series of love letters to communities and locations left behind. As a fan of winter sounds, I've been eager to hear more of Carr's Iceland recordings, and am rewarded here with two particularly sharp pieces, one snow and one rain. (To refresh the memory of our readers, Carr saw her first snow in Iceland). While these are not the only weather sounds on the album, they are the only ones to stand alone, apart from light musical modification. (Suggestion to Carr: Weather album!) But the overall nature of the collection is not what one might imagine, even from these tracks. Carr writes, "At the end of 2016, a year which for me, like so many others I know, has been by turns difficult, shocking and very sad both personally and politically, this is as hopeful an arrangement as I can manage." I've heard the same emotional echoes in communications from around the world; it seems that either no one had a great 2016, or that artists of all fields were particularly in tune with the forces threatening to undo our optimism. Carr's response is small, yet quite effective. She throws a drop in a bucket and hopes that others will do the same. Her particular contribution here is to remind herself, and by extension, others, of the great beauty that continues to exist in the world: the nutty gorses and ibises, the morning chorus that greets the day. By ending on the latter subject, she suggests that life is worth living and hope is worth having. The sun comes up; we've survived another night. Good things may still come our way, but more importantly, goodness may still flow through us, if we are brave enough to be its conduit. [Richard Allen]

    Next release in Galaverna by Kate Carr

    We are so excited to announce the next release in Galaverna is signed by Kate Carr.

    Carr investigates the intersections between sound, place, and emotionality. Her work has been featured in The New York Times, The Wire, The Quietus and The Out Door among others, and broadcast widely including on BBC Radio 6, Radio 3, Resonance FM in the UK as well as Triple J and Radio National in Australia. In addition to Galaverna, her music can be found on the labels Helen Scarsdale (US), Rivertones (UK), Soft (France) 3Leaves (Hungary) as well as on her own label Flaming Pines. She is Australian.

    The release date of her work titled “endings” is set for the 21st December 2016.

    Photo by Neil R Thomson.

    So(E)nology Raffaele Mariconte

    cat: gal 0190
    date:  21 sept 2016
    time:  15:13

    download as: 

    AIF [228,6 MiB]

    MP3 [40,5 MiB]


    So(E)nology  The transformations that occur when wine and sound combine have recently been object of analysis by some sonic artists such as Jo Burzynska (Oenosthesia project, 2012) and Enrico Ascoli with his installation "Auspicio" together with Hilario Isola at MAXXI Museum in Rome (2015).

    Raffaele Mariconte is an acoustic engineer and member of the Interferenze new arts festival team that has enhanced this exploration inviting these artists to develop their ideas during some residencies in the past years. He's also originally from Guardia Sanframondi, a village in South Italy whose culture, tradition and economy is strongly tied to wine and vineyards.

    In “So(E)nology”, Mariconte presents his research on microsound and resonances related with wine-making developed in his village and surroundings through recording the fermentation of wine with contact mics and hydrophones. The aim of this work is to emphasize some specific features of the microsounds which this research is focusing on.

    The temporary results of this ongoing exploration are now available in this work, that both includes and is created from wine, immersing the listener in a mysterious and liminal soundscape made by changing timbres and frequencies, where to discover different and unexpected ways of experiencing oenology.

    Notes from the artist This work explores some microsonic structures and resonances of winemaking and vineyards. Most tracks were recorded with hydrophones and piezo mics. Editing and mastering has tried to enhance as possible the original characters of recorded microsounds.

    Dedicated to my rural area of origin (Samnium).

    Creative Commons License

    So(E)nology Raffaele Mariconte is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
    Permissions beyond the scope of this license may be available at



    Oenophiles love the sounds of wine: the corkscrew, the pop, the pour, the clink.  Many musical works have been produced using these sounds.  But travel deeper, and one will find other sounds associated with the product and the process.  In their new works, Raffaele Mariconte and Alan Courtis & Cyrus Pireh use different approaches and focus on different angles, but their works complement each other. Raffaele Mariconte‘s So(E)nology concentrates on the fermentation of wine, and of the two works, holds the more recognizable sounds.  These are the bubbles, the pops, and the charges associated with the process that turns the liquid into something tempting and tart.  It’s unusual to hear hydophones used in this way, dipped in vats rather than streams; when one hears the crunchy electronic textures, one recalls the brine shrimp of Jana Winderen’s works.  This is an entirely different world, yet it plays by some of the same rules. Mariconte edits his recordings in order to bring out their hidden flavors and darker hues.  By concentrating on small segments and snippets, he highlights different tonalities.  So(E)nology often sounds like a chemical lab, filled with white-coated scientists, gurgling test tubes and bunsen burners, yet the fermentation process is far more benign.  The spell is briefly broken only once, on “Tank”: taps on tanks with an invisible wink, an endearing reminder of the human element.