Galaverna

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.

Aims

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.

Next release in Galaverna by David Velez

We're so excited to announce that, on the next 21st September, Galaverna will release "The birds of Nilo", a work by David Velez,  sound artist and composer, also co-founder and director of the Impulsive Habitat netlabel and ...
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Stéphane Marin “Matins d’Ariège” out now

Happy to say  “Matins d’Ariège” by Stéphane Marin is out now. Click on the image below to go to the release page.

Next release in Galaverna: “Matins d’Ariège” by Stéphane Marin

We are happy to say that, after some troubles, Galaverna will release very soon a work by Stéphane Marin, soundscape artist involved in the promotion of the soundscape  culture and curator of the project Espaces Sonores. ...
Read more...

“O/live” featured on Framework radio #516

Stefan Militzer & Roland Etzin "O/live" featured on Framework radio #516. Framework #516: 2015.06.14 by Framework Radio on Mixcloud   Listen/Download also at frameworkradio.net.
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    Next release in Galaverna by David Velez

    We’re so excited to announce that, on the next 21st September, Galaverna will release “The birds of Nilo”, a work by David Velez,  sound artist and composer, also co-founder and director of the Impulsive Habitat netlabel and founder of The Field Reporter web magazine.

    As in the artist’s statement : <<“The birds of Nilo” is a sequence of six recordings captured in the small municipality of Nilo in the department of Cundinamarca (Colombia) whose average temperature of 27º C (81º F), ranks among the highest in the country. The material was captured in a narrow creek close to the Pagüey River where many birds gathered early in the morning and sang their tunes>>.

    Matins d’Ariège Stéphane Marin (Espaces Sonores)

     

    cat: gal 0122
    date:  6 aug 2015
     
    time: 39:57 

    download as:

    AIF [361,0 MiB]

    MP3 [132,4 MiB]

    Matins d'Ariège Listening to a soundscape means to engage with the historical and geographical specificity of a landscape through a sonic practice. As George Revill has written, “such an approach is informed by a recognition of the always already context dependence of communicative utterance and a notion of sensing as simultaneously affective and reflective, an embodied process of making sense”. This is a perspective that emerges from many soundworks focused on an “intimate, elementary and ecological auscultation” of a place, as Stéphane Marin’s “Matins d'Ariège” is.

    This work can be defined as an attempt to draw “a kind of non-nostalgic "souvenir" which invites the listeners to experience the specific vibrations and the deep energy wich overfows from these simple rural sonic spaces”, as Marin writes. The author tries here to “to share another angle of listening, another "regard", on an intimate countryside world. This landscape that seems familiar at first glance but only before the phonographic framework offers us the vision of a less generic rurality, more dramatic, more fantasmatic, more powerful”.

    “Matins d'Ariège” is a binaural work floating between abstract and concrete atmospheres, built on different composition techniques: raw and recomposed field recordings. It opens an imaginary space where it’s possible to deal with the possible sonic worlds activated by a listening process created in a specific place, Ariège in the Pyrenees mountains. A place “to be (in France) for decreasing”, one of the infinite small corners where to ask about planetary processes of capitalism: “Would you take the time to decrease with us all the way to the end?”

    Notes from the artist  MATINS D'ARIÈGE is an intimate, elementary and ecological auscultation of the place I used to live in Ariège (Pyrénnées - France). A kind of non-nostalgic "souvenir" which invites the listeners to experience the specific vibrations and the deep energy wich overfows from these  simple rural sonic spaces.  I'm trying here to share another angle of listening, another "regard", on an intimate countryside world. This landscape that seems familiar at first glance but only before the phonographic framework offers us the vision of a less generic rurality, more dramatic, more fantasmatic, more powerful !  This binaural work is balanced between abstract and concrete sonic propositions and between "raw" and recomposed field recordings. All the tracks are linked with one (or more) of our (western) 4 elements.  Ariège is the place to be (in France) for decreasing... Would you take the time to decrease with us all the way to the end ? Really… to the end ?!.

     ///////// Matins d'Ariège is carbon-free…  No plane and no car have been used to record it !  All recordings were made between 2013 and 2014 in the village of  Fabas (Parc Régional des Pyrénnées Ariégeoises, France)  mostly with binaural or contact microphones :  please experience it (only) on your (best) headphones ! "Matins d'Ariège" was composed between october 2014 and february 2015.  

    /////////  Thanks to Enrico Coniglio, Patrick Mc Ginley, Daniel Crockaert, Pali Meursault, Marc Namblard, Felix Blume, Miguel Isaza, and Luis Antero for their careful listenings and their precious reviews.

     /////////  http://www.espaces-sonores.com/ Recording / Composition / Mastering / Photos : Stéphane MARIN

     /////////  On the border between listening to the soundscape and "in situ" compositions, in the porosity proposed by a work who rubs the real, Stéphane MARIN's artistic, ecological and spiritual paths approching each day a little closer to the silence.

     

    Creative Commons License
    Matins d'Ariège by Stéphane Marin is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
    Permissions beyond the scope of this license may be available at http://www.galaverna.org.

    REVIEWS

    SYNTONE

    Avertissement – Lectrices, lecteurs, écoutez donc Matins d’Ariège avant de lire ce qui suit : y sont décrits des secrets de fabrication que vous n’apprécierez que si vos oreilles s’en sont d’abord passées. Et si vous avez un casque à proximité, utilisez-le, afin d’entendre le son dans toute sa spatialité et sa matérialité. D’emblée, Matins d’Ariège nous fait basculer dans un autre corps. Nous devenons une maison dont quelqu’un ferme, l’un après l’autre, les lourds volets, pendant que dehors la bourrasque fait rage. À moins que nous ne soyons ce quelqu’un – l’auteur ? – ou bien un fantôme distinct, entré par effraction via une brèche sonore. Peu importe. Soudain nous respirons au rythme de ces ouvertures et fermetures au vent. De nos oreilles il est à peine question. Nous sommes engouffré⋅e⋅s dans la matière, le métal tambouriné par la tempête, les bois qui grincent, qui glissent, les blocs d’air qui foncent, inlassables, les protections où l’on s’emmitoufle. Puis un volet s’ouvre sur l’accalmie et les textures fines, bruissantes, du matin. Vous voulez du paysage sonore rural, nous dit Stéphane Marin, en voilà un peu. Mais juste le temps de récupérer votre souffle et de vous préparer aux averses qui arrivent – ou plutôt, à tout ce qui se passe à l’intérieur de ces différentes averses. Est-on dans du field recording ou dans un rêve, dans le village de Fabas ou dans une fiction ? Tout cela en même temps. Chaque objet, chaque geste, chaque élément de l’atmosphère, chargé d’une longue histoire humaine, est un point de départ vers l’imaginaire. Matins d’Ariège est la dernière parution du netlabel1 italien Galaverna, dont « l’objet principal est d’introduire le concept de décroissance dans le milieu de la musique ». Une seule parution par saison, en haute qualité numérique, qui donne longtemps à écouter et à songer. Stéphane Marin, qui définit sa démarche comme « artistique, écologique et spirituelle »2, était tout indiqué pour livrer celle de l’été 2015. Par ailleurs fondateur de la compagnie Espaces sonores, spécialisée dans les « créations sonores contextuelles », il propose ici « une intime auscultation élémentaire d’un ancien lieu de vie ». Les prises de son binaurales, par hydrophones et micros contact font partie de ses outils pour réaliser ce portrait narratif d’un hameau qui chamboule les frontières du field recording. Sept pistes au rythme et à la temporalité propres (de vingt-huit secondes à plus de quinze minutes), employant des techniques distinctes (« des prises de son brutes ou recomposées »), et qui se font écho de multiples manières. Stephane_Marin_Matins_d_Ariege_Averses_CC_by-nc-nd_big Stéphane Marin, « Averses », Creative Commons by-nc-nd Mais revenons aux averses. Trois, nous dit le titre de la piste, comme dans un traité de typologie pluviale. Et elles sont en effet l’occasion d’expérimentations scientifiques et musicales. L’approche, attentive aux tonalités diverses de la pluie selon sa dynamique du moment et selon les matériaux qu’elle rencontre, fait songer notamment au travail de Luis Antero autour des rivières et ruisseaux3. Un micro binaural sur la tête du compositeur, deux hydrophones posés sur différentes lattes d’une chaise en bois, le tout relié à une petite console de terrain qui a permis de mixer leurs amplitudes respectives en direct4. Il nous semble entendre simultanément chaque goutte distincte et l’averse dans son ensemble – avec l’impression d’entrer ainsi dans les entrailles des éléments, dans leur mécanique secrète. Ici la pluie, avant, l’air, ensuite la terre et le feu. Les gestes les plus simples deviennent des évènements gigantesques dans cette cosmogonie du quotidien : une bâche tendue dont on vide l’eau et c’est tout l’espace sonore qui se recompose. Stéphane Marin est à l’affût de ce qu’il nomme « la poétique de la banalité ». Matins d’Ariège tisse des mystères et des évidences – le moindre son plein à craquer de toutes ses significations possibles et des mille narrations, acoustiques, géologiques, animales, émotionnelles, sacrées, qui le lient aux autres sons. Charge à celle ou celui qui écoute d’inventer le rituel où ils prennent place. C’est cette charge mythologique sous-jacente, jamais explicite, qui distingue par exemple « Dégel », où l’on entend le travail de la glace au printemps, des compositions sur le même thème d’Andreas Bick ou Marc Namblard : la couche gelée dit autre chose que sa musicalité ou sa dynamique, mais elle nous laisse libres de deviner ou d’inventer cette autre chose. La densité et la matérialité de Matins d’Ariège sont une affaire de micros, mais tout autant, sinon davantage, de symbolique. « L’inquiet » est particulièrement représentatif à cet égard : au cœur de la composition, la piste introduit un affect explicitement nommé, mais reste mystérieuse tant dans sa fabrication que dans l’interprétation à y apporter. La captation est l’une des plus retravaillées en studio : c’est le son, filtré et spatialisé, d’un lapin préoccupé par la présence d’un micro stéréo devant son clapier. Mais de savoir cela n’arrête en rien le questionnement produit par l’écoute. Est-ce une rime acoustique avec la glace du dégel ? Est-ce un moment du récit que l’on n’aurait pas encore saisi ? Plus l’on écoute et moins l’on sait, car c’est à nous de construire et déconstruire sans cesse ce récit. L’écoute se modifie au fil du temps : on réentend et on interprète différemment la piste précédente en fonction de celle qui se déroule. Les motifs reviennent, se font écho, se transforment mutuellement. Les craquèlements du feu résonnent comme des gouttes d’eau. Et puis tout à coup, le silence. De cela non plus on n’est pas sûr⋅e d’abord : peut-être le feu chuchote-t-il ? Peut-être n’écoute-t-on pas encore assez ? Peut-être faut-il plonger plus loin dans le son pour entendre ? Mais le lieu depuis lequel on écoute resurgit, et nous semble masquer ce qui se passe de l’autre côté du casque. Le silence fait pleinement partie de la composition, il s’y insère comme une épreuve initiatique, une ultime façon d’engager l’autre dans l’écoute. Et « celles et ceux qui savent aller au bout du silence », dit Stéphane Marin, qui savent « laisser courir la bande », tomberont sur son « invitée d’honneur, le symbole de la décroissance » : une limace occupée à franchir un micro contact. http://syntone.fr/songes-enfouis-des-matins-dariege

     
    THEATRE OF NOISE

    It begins with a juddering of a window being buffeted in the wind, and then we are sucked out into a squall, wind swirling about us. To lock out the gale we slam doors closed, slide bolts on their supports, and latch squeaky shutters. Thunderous impacts alternate with the howling gale in a procession of inside/outside, far/near, dissipation/intensification. Literally and figuratively "Bourrasques" is an opening. It's a stunning way to commence Matins d'Ariège, a new release by Stéphane Marin. For two years Marin gathered sounds in the village of Fabas, embedded in the Pyrénnées Ariégeoises region of France, using mostly binaural and contact microphones. The results have been composed into a powerful evocation of place. These seven tracks are compact and efficient, demonstrating a highly tuned ear and a ruthless editing process. We get no tedious, indulgent soundscapes. (Though I also have time for those.) Everything lasts exactly as long as necessary; the emotional force of the composition is amplified as a result. "Trois averses" knits together the three rain showers of the title, into an expressive aleatoric catalogue. Each drop of liquid activates its environment. Towards the end of the track we hear insect stridulation and car tyres splashing in the puddles, as life on different scales ventures out of its hiding places. "Bourrasques" then returns, feet crunching through gravel, wind in the trees, gates creaking. But the context is different, and so our reception changes. In contrast to what has gone before, "L'Inquiet" evokes an interior landscape of geological significance, a low pass filter used to creative effect. The 28 seconds of "Bourre" is no padding, but a reprise of textures from two tracks previous. This insert demonstrates an overt, dramatic, compositional awareness. The artist describes this album as an "intimate, elementary and ecological auscultation of the place I used to live", fairly releasing reviewers such as myself from their descriptive obligations. So I will say nothing about "Brûle la nuit", exept that it is positioned at the end of this curated listening experience, where only it can be. Through overt technique and careful collation, Marin demonstrates how our own individual interventions in a landscape form that place as a response to our presence. No matter how intimately he knows the locale, Ariège did not come to Marin fully-formed, but as a variety of experiences and constraints that had to be navigated and shaped. With so many naive field recordings being offered up to our ears, it is refreshing to hear one that reflects this phenomenological truth. Galaverna is a digital music label based in Italy. It promotes an ethos of decrescita or sustainability by releasing only one work per season. If you were going to offer a single album every four months, then Matins d'Ariège would indeed be the one. Highly recommended. [Robert Parmar]





     

     

     
     

    Next release in Galaverna: “Matins d’Ariège” by Stéphane Marin

    We are happy to say that, after some troubles, Galaverna will release very soon a work by Stéphane Marin, soundscape artist involved in the promotion of the soundscape  culture and curator of the project Espaces Sonores.

    His forthcoming work is titled “Matins d’Ariège” and, in the words of the author himself, “is an intimate, elementary and ecological auscultation of the place I used to live in Ariège (Pyrénées – France). A kind of non-nostalgic “souvenir” which invites the listeners to experience the specific vibrations and the deep energy wich overfows from these  simple rural sonic spaces”.

    For more infos on Stéphane’s numerous activities see at espaces-sonores.com

     

    “Matins d’Ariège” is coming soon.

    Galaverna at Liminaria 2015

    Galaverna is part of the network that is organizing Liminaria 2015, a project focused on sound art, digital culture and rurality taking place in these days in the rural region of Fortore, South Italy and curated by Leandro Pisano. Among the artists in residence, there is Enrico Coniglio, who will present on 6th of June his work “Sounding out the watershed” dealing with soundscape of borders.

     

    O/live Stefan Militzer & Roland Etzin

     

    cat: gal 0121
    date: mar 21 2015
     
    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 http://www.galaverna.org.

    REVIEWS

    BEACH SLOTH

    O/live is a glorious marriage of field recordings and dance music. With these playful sounds Stefan Militzer and Roland Etzin explore the world’s constant often unnoticed rhythms. The tactile nature of this nature gives the work a teeming sense of life. Lots of sonic details appear throughout the work as the duo digs deep into the very definition of the sound. By letting the grooves evolve with the real and the manipulated O/live is able to create an entirely new world out of a small spectrum of sound. Scrapes open up the track. Hesitant at first the sounds grow in confidence. Akin to the sound of insects on a hot summer night the sounds appear to communicate with each other. Given time these sounds come together to create a distant deep rumbling. Upon their settling down the work then begins to ultimately create a dance-friendly structure one that contains a potent amount of energy. Minor edits come into the fray as the piece gains in momentum. Patience lets the work unfold into higher-pitched, almost atmospheric sound. Halfway through the piece the duo opts for a stripped down approach. Gone with any excess the work feels akin to slowly burrowing its way into the mind. Sine waves help in this effort as does the light field recording that comes into view. For the final moments everything evaporates to reveal a quiet industrial wind. O/live is an intersection of the real and the synthesized. It is quite lovely to behold.

    POLYPHONIA

    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