Galaverna

Galaverna is a platform for music & soundart productions based in Italy that mainly operates in the area of field recordings and soundscape compositions, with a specific referral to the landscape 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 with the support of Nicola Di Croce.

Aims

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

Galaverna is as digital label only.

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

Artists involved in Galaverna must agree to this.

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.

Next release in Galaverna by Jeremy Hegge

We are pleased to welcome Jeremy Hegge from Sydney, NSW, Australia. The release date is set for the 21st September 2019. Stay tuned.       Salva Salva

@c “Re:Coimbra” out now

We are happy to announce the return of @c on our catalogue with the title "Re:Coimbra", a special release based on recordings by Luís Antero. Out today 21st June 2019. ...
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Galaverna is finally on archive.org

Just a quick update to announce that all Galaverna releases are now available for free download also on archive.org The Internet Archive (archive.org) is a 501(c)(3) non-profit that was founded ...
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Next release in Galaverna by @c (Pedro Tudela & Miguel Carvalhais)

After a long break we are really excited to announce that the next June 2019 will be released “Re:Coimbra”, a new collaborative work  by @c (Pedro Tudela & Miguel Carvalhais), based ...
Read more...
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    @c “Re:Coimbra” out now

    We are happy to announce the return of @c on our catalogue with the title “Re:Coimbra”, a special release based on recordings by Luís Antero. Out today 21st June 2019.

    Click on the image below to go to the release page.

     

    Salva

    Salva

    Re:Coimbra @c (Pedro Tudela & Miguel Carvalhais)

    cat: gal 0260
    date:  jun  2019
    time: 51:09

    download at archive.org

     

     

     

    Re:Coimbra

    A dérive through Coimbra’s old town, along a path built from soundmarks of familiar spaces at unknown times and situations. 

    An exercise of discovering Coimbra’s sounds through peeling strata deposited for fifteen centuries in the area between the river banks of Mondego, the narrow streets of Baixa, and the stairs towards Almedina and the University. An integration of memory, references, history and lore, in an exploration of a space-time that is not our own.
    Luís Antero’s field recordings, realistic captures of the mundane, were displaced and recontextualised in a composition that makes new connections, makes them visible, and builds an extra-ordinary new sonic space that pulsates and breaths as the city, and that like the city has a life, and a flow

    Pedro Tudela e Miguel Carvalhais collaborate as @c since 2000. In 2003 they founded the Crónica label, and have since been publishing experimental electronic music and sound art. They have released more than 20 albums in labels as Crónica, Baskaru, Monochrome Vision, Galaverna, and Feld, and they have performed live extensively, favouring acousmatic and immersive presentations. They often collaborate with other musicians and artists and have developed a number of site-specific sound installations.
    Pedro Tudela is an artist and as assistant professor at the visual arts department of the Faculty of Fine Arts of the University of Porto.
    Miguel Carvalhais is a designer, musician, and an assistant professor at the design department of the Faculty of Fine Arts of the University of Porto.

    www.at-c.org
    www.carvalhais.org
    www.pedrotudela.org

    Thank you:
    Catarina Pires and José Miguel Pereira
    Luís Antero
    The team at Convento de São Francisco, Coimbra
    José Crúzio

    Creative Commons License

    Re:Coimbra by @c (Pedro Tudela & Miguel Carvalhais) is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Permissions beyond the scope of this license may be available at www.galaverna.org.

    REVIEWS

    Drifting almost falling

    Technically not a single with its fifty-one minute length, the piece is a rather chaotically dense slice of electroacoustic sound art that fuses all manner of bustling circular electronics, field recordings, granular synthesis and pulses of sound all combine to create a hypnotic piece. According to the duo the piece is “An exercise of discovering Coimbra’s sounds through peeling strata deposited for fifteen centuries in the area between the river banks of Mondego, the narrow streets of Baixa, and the stairs towards Almedina and the University. An integration of memory, references, history and lore, in an exploration of a space-time that is not our own.“ For people who are not familiar with the environment that inspires it, it can take the listener on a journey where elements are captured then manipulated onto a sonic fabric that contains some disparate sounds. A personal favourite section being the Church organ (which is quite fitting seeing it the piece was premiered at Church of the Convent of São Francisco, Coimbra) that is layered creating a swell of sound before transforming into a woozy drunken soundscape. The piece plays with sound and texture moving through pieces that are clearly formed into a fabric, while other parts are naked and raw. There are times where it feels like a tightly composed piece (like the first ten minutes) and then there are sections that make it come as a travelogue piece and make you wonder how much of it is Antero’s original field recordings or @c’s painting with sound. For lovers of electroacoustic/sound art/ambient there is plenty to digest and absorb over the fifty one minutes. Personally for me, the second two thirds of the piece where it is less chaotic work better, but that is purely because it is more suited to my taste.





    Galaverna is finally on archive.org

    Just a quick update to announce that all Galaverna releases are now available for free download also on archive.org

    The Internet Archive (archive.org) is a 501(c)(3) non-profit that was founded to build an Internet library, with the purpose of offering permanent access for researchers, historians, and scholars to historical collections that exist in digital format.

    Many thanks to all the staff for supporting us.

    Next release in Galaverna by @c (Pedro Tudela & Miguel Carvalhais)

    After a long break we are really excited to announce that the next June 2019 will be released “Re:Coimbra”, a new collaborative work  by @c (Pedro Tudela & Miguel Carvalhais), based on original recordings by Luís Antero.

    Here’s a short description of the work by the authors: “A dérive through Coimbra’s old town, along a path built from soundmarks of familiar spaces at unknown times and situations.

    An exercise of discovering Coimbra’s sounds through peeling strata deposited for fifteen centuries in the area between the river banks of Mondego, the narrow streets of Baixa, and the stairs towards Almedina and the University. An integration of memory, references, history and lore, in an exploration of a space-time that is not our own.

    Luís Antero’s field recordings, realistic captures of the mundane, were displaced and recontextualised in a composition that makes new connections, makes them visible, and builds an extra-ordinary new sonic space that pulsates and breaths as the city, and that like the city has a life, and a flow”.

    Pedro Tudela e Miguel Carvalhais collaborate as @c since 2000. In 2003 they founded the Crónica label, and have since been publishing experimental electronic music and sound art. They have released more than 20 albums in labels as Crónica, Baskaru, Monochrome Vision, Galaverna, and Feld, and they have performed live extensively, favouring acousmatic and immersive presentations. They often collaborate with other musicians and artists and have developed a number of site-specific sound installations.

    Pedro Tudela is an artist and as assistant professor at the visual arts department of the Faculty of Fine Arts of the University of Porto.

    Miguel Carvalhais is a designer, musician, and an assistant professor at the design department of the Faculty of Fine Arts of the University of Porto.

    “A Futurist’s Cookbook” on ACL 2018 ~ Top Ten Field Recording & Soundscape

    We are really happy “A Futurist’s Cookbook” by Philip Samartzis & Daniela d’Arielli appears on A Closer Listen top ten Field Recording & Soundscape releases.

    “Field recordings can be incredibly serious, but they can also be incredibly fun. This is the case with A Futurist’s Cookbook, which plunges happily into the life of a farm, highlighting cows, grain, machines and noodles. The photos that accompany the release are a huge part of the appeal: clean, evocative and educational, they portray the agricultural industry in a positive light. The Pollinara farm must have been overjoyed at the result; as Samartzis writes, “only a futurist meal can lift spirits.”

    Thanks to Richard Allen and to the whole staff at ACL.

    A slight change of course in Galaverna

    A slight change of course in Galaverna after 5 years since we have started the label.

    We apologize to all our followers, but from now on our releases will be published without taking into account a precise scheduling, in order to focus accurately on the dissemination of our artists’s outputs.

    That would be followed by an inevitable update of our ‘manifesto’, wich is needed after years of activity, in the face of changes in the digital downloads and netlabelism in general.

    Check out also our Facebook page for updates.

     

    A Futurist’s Cookbook Philip Samartzis & Daniela d’Arielli

    cat: gal 0250
    date:  21 mar 2018
    time: 38:35

    download at archive.org

     

     

     

    A Futurist's Cookbook “A Futurist’s Cookbook” is a sound and photography work developed from a series of materials collected by Melbourne-based sound artist Philip Samartzis and Italian photographer Daniela D’Arielli during a one-week residency both undertook at Pollinaria, a sprawling farm located at the base of Gran Sasso National Park in Abruzzo region, Italy.

    As emerges from the accompanying text written by Samartzis, the residency coincided with the summer harvest providing an opportunity for a variety of sound recordings of agricultural infrastructure, including complex machinery used to transform unrefined crops into processed foods. “During our field trips Daniela would photograph the places, objects and people we encountered. Often embedded in the landscape, hidden from view, shooting from a distance with a macro lens. The images accompanying the composition are designed to reveal the richly textured environments in which we worked.”

    The title A Futurist’s Cookbook is a reference to the manifesto “The Futurist Cookbook” written by Filippo Tommaso Marinetti around 1932. While the Futurists often privileged the urban as the bastion of technology, disruption and noise, the rural offers an equally complex soundscape of natural, geophysical and industrial sound. “A Futurist’s Cookbook” is a charming tribute to the regional traditions of Abruzzo, and the futurist farmers working to preserve them. “After all”, writes Samartzis, “only a futurist meal can lift spirits.”

    Note from the artist  This project emerges from a one-week residency I undertook at Pollinaria, a sprawling farm located at the base of Gran Sasso National Park in Abruzzo. The residency coincided with the summer harvest providing an opportunity for a variety of sound recordings of agricultural infrastructure, including complex machinery used to transform unrefined crops into processed foods. Most of the fieldwork was undertaken in the company of Daniela d’Arielli who navigated the winding and undulating topography while I searched for sounds residing in the dry pastoral landscape. During our field trips Daniela would photograph the places, objects and people we encountered. Often embedded in the landscape, hidden from view, shooting from a distance with a macro lens. The images accompanying the composition are designed to reveal the richly textured environments in which we worked.

    The title A Futurist’s Cookbook is a reference to the provocative manifesto The Futurist Cookbook written by Filippo Tommaso Marinetti, circa 1932 – a treatise that drew on food as a raw material for art and cultural commentary. Marinetti’s clever use of the cookbook format to advance collective artistic consciousness appeals to my sense of the absurd. In spite of the misogynist sentiments, perverse speculations and nationalist impulses, Marinetti’s musings provide shrewd observations of contemporary life. While the Futurists often privileged the urban as the bastion of technology, disruption and noise, the rural offers an equally complex soundscape of natural, geophysical and industrial sound. A Futurist’s Cookbook is an expression of the exuberant noise and dynamism permeating throughout the countryside. One as thrilling and sensual as anything the discordant city can utter. It is also an affectionate tribute to the regional traditions of Abruzzo, and the futurist farmers working to preserve them. After all only a futurist meal can lift spirits. [Philip Samartzis]

    Download the essay A Futurist’s Cookbook.

    Creative Commons License

    A Futurist's Cookbook by Philip Samartzis is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Permissions beyond the scope of this license may be available at www.galaverna.org.

     

    REVIEWS

    CYCLIC DEFROST

    Phillip Samartzis is a Melbourne based sound artist and academic. He has numerous releases on labels like Room40 and his own Microphonics label, the majority containing field recordings. In the accompanying essay to a Futurists Cookbook Samartzis explains: “A Futurist’s Cookbook is an expression of the exuberant noise and dynamism permeating throughout the countryside. One as thrilling and sensual as anything the discordant city can utter.” And there’s no denying Samartzis’ exuberance about this sonic world. It’s so lovingly recorded, with great care given to the depth of focus, textures, movement and even the range of sounds across the frequency spectrum. The sounds were generated from a one-week residency he undertook at Pollinaria, a farm located at the base of Gran Sasso National Park in Abruzzo Italy. Luckily for Samartzis, the residency coincided with the summer harvest, which offered the opportunity to collect recordings of agricultural infrastructure, including factory machinery used to transform the unrefined crops into processed foods. Samartzis paints an audio picture, gathering sonic details much like one would use photographs to chart their experience with intricate close ups existing alongside broad panoramic vistas. It’s all incredibly vivid, with a fully articulated sense of space, and expert use of the stereo field. His exuberance is contagious as he captures this richly textured environment, revealing not just hidden details but uncelebrated combinations of details. This is particularly highlighted on the piece The Harvest where wind and farm machinery interact in some strange and beautiful dance, sensuously swaying in between and each other, erupting into a crescendo of movement, before slowly dipping away. It’s amazing, yet no doubt you would be standing there watching these episodes unfold thinking it was all nothing out of the ordinary. To some extent this highlights the beauty of the project, by removing the visual we’re more open to finding new meaning, new beauty, new understanding within the sonic world. He does it repeatedly, the cracking thunder across the stereo field alongside the patter of rain hitting the ground is sublime, grains are crushed, water drips, bells on cows jangle in gorgeous Gamelan like patterns, as he continues to find the beauty. There’s no obscuring here, with titles like Factory, Mountains, Harvest, Mill, and Night. It’s a process driven work, that stems from a curiosity about a sense of place, about the place where food comes from. It’s quite romantic, even idyllic, further heightened by the presence of still photographic essay from Daniela d’Arielli who charts not only the locations but also Samartzis within them.

    I'd always greatly enjoyed Samartzis' music since first hearing him, if I recall correctly, on the duo recording with Sachiko M, 'Artefact', released in 2002. But I was only able to meet him and hear his work live (that is, on tape) several years ago in Paris at IRCAM. My experiences with the French academic electro-acoustic world wasn't so great--the programs and synthesized sounds tended to resemble a musical version of Photoshop as far as I was concerned, projecting a kind of sheen over almost all compositions that I found unappetizing. At the event in question, however, two pieces stood out: those of Giuseppe Ielasi and Samartzis, which featured sounds that were very alive, very sharp and full of grain. This recording is very much in that lineage. It was recorded during a residency in Abruzzi, Italy, Samartzis accompanied to various locations by d'Arielli, who contributes 24 photographs that arrive with the download, in addition to an essay by Samartzis on Futurism, Marinetti and the dynamism of the sounds heard in the countryside and urban settings. Seven tracks, the title of each indicating either a place or condition (each prefaced and occasionally interrupted by a female voice, presumably d'Arielli's, offering a one-word description on Italian). As with the work I heard at IRCAM, which involved sounds recorded on a ship near Antarctica, Samartzis seems to allow the sounds to speak for themselves: cowbells, wheat fields in the wind, threshing machines, grain processing, insects, water dripping, pasta being formed and cut, planes in the night, etc. (most of these documented in the photos). But I'm reasonably sure that all this hyper-verisimilitude was arrived at via ultra-subtle and careful manipulation of his initial recordings. That they appear so enveloping and of the place, unladen with any over-obvious irony or or other artifice is fine testimony to Samartzis' vision and abilities. How an Italian meal arrives at the table Excellent, discreetly imaginative and engaging work. []

    BEACH SLOTH

    Beautiful in its full embrace of complete sonic freedom, Philip Samartzis & Daniela d’Arielli amplify the world around them with “A Futurist’s Cookbook”. The great love for their surroundings becomes apparently quite quickly, for the album works on an experimental textural approach. Elements of the industrial and natural world flow into the proceedings for it all has a familiar quality to it. The deeply insight they provide shows how even the natural world, the pastoral, still has the undeniable touch of humanity upon it. For things that ought to be purely natural there is still the sound of a harvest that feels industrial in nature. Glistening tones open the album up with the reflective “Mountains”. One of the quieter pieces of the album, there is a contemplative element to the sound. Shockingly noisy is the powerful “Harvest”. Rather than opt for a field recording of nature, they go for what really happens: industrial churn which collects all of that produce. Even harsher still the pure noise of “Mill” goes for a full-on assault on the senses. Finally giving a bit of a relief of sorts, “Weather” proves that there remain elements of the landscape that will forever be outside of humanity’s control. The quieter approach continues on the equally gentle “Vineyard”. Interestingly “Factory” combines both approaches: both the noise of the machinery alongside quieter moments of rest. Cycling back to the introduction “Night” feels quite calming, a true palette cleanser. With “A Futurist’s Cookbook” Philip Samartzis & Daniela d’Arielli prove to have a good ear for sound and a surprisingly sharp attention to narrative.

    A CLOSER LISTEN

    Noodles, noodles, such wonderful noodles! I am getting hungry just looking at Daniela d’Arielli‘s photos, which cover the adventure from field to factory. And these noodles are not even cooked yet! There’s a purity in the process when seen from the beginning to the end, rather than the reverse (a box, a list of ingredients). At the Pollinaria farm of Abruzzo (Central Italy), it’s a way of life. The album title is taken from Filippo Tomasso’s 1932 manifesto ~ a provocative piece from which Philip Samartzis extracts the wheat while throwing away the chaff. Writes Samartzis, “A Futurist’s Cookbook is an expression of the exuberant noise and dynamism permeating throughout the countryside.” It’s a celebration of sounds that might in other contexts be considered noise: the machinery of harvest and processing, blended with the natural sounds of the province. The field recordings work together in perfect harmony. There’s a sense of balance between the organic and inorganic, especially apparent in “Mountains,” a chorus of sheep bells with only occasional bleats. The piece seems like nature, even though we know the sheep didn’t make their own bells. And in the middle of the field stands the ebullient Samartzis, happy to have found such a beautiful noise. When the wind arrives along with threshing equipment, it seems less an intrusion than a welcome friend. The weather has much to do with the harvest. It’s a slight surprise then to find that the sound of the mill imitates a downpour (grains acting as pebbles of hail) and vice versa. The overall effect is a yin and yang of sound, an dual expression of respect. The workers are grateful for nature’s bounty, and use these resources without exploiting them; nature (although fickle) seems to respond in return. In the appreciation of fertile fields, one can glean echoes of ancient cultures and ancient goddesses, in particular Ceres, from whose name we get cereal. The factory is one of the cleanest we’ve ever seen. d’Arielli’s photos restore our faith in our food, and remind us of the good feeling that arrives when we connect the things we eat with people rather than with corporations. Thanks to Samartzis and d’Arielli, we’ve encountered the sights and sounds behind our next meal. As for me, I can’t wait to boil some pasta ~ as I wait for the pot to boil, I give thanks for all the people who made it happen, especially for those at the Pollinaria farm. [Richard Allen] https://acloserlisten.com/2018/04/13/philip-samartzis-daniela-darielli-a-futurists-cookbook/




    Next release in Galaverna by Philip Samartzis and Daniela d’Arielli

    We are so excited to announce that the next release in Galaverna will be featuring Philip Samartzis and Daniela d’Arielli.

    Philip Samartzis (AU) makes work interrogating the effects of isolation and extreme weather events within remote settings to measure the impact on vulnerable communities.
    The main subject of Daniela d’Ariella’s (IT) work is focused on nature and the fragility of its beauty.

    The title of the release is “A Futurist’s Cookbook”.

    Stay tuned.