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.

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.

Jay-Dea Lopez “AC” out now

As the 21st of December is here, we have the pleasure to announce the release of "AC" by Jay-Dea Lopez! Click on the image below to go to the release page.

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 ...

    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]


    Next release in Galaverna by Vacuamœnia

    The next release in Galaverna, set for the 21st of september, is credited to Fabio R. Lattuca and Pietro Bonanno, founders of Vacuamœnia project [], whose work aims at explore the abandoned villages built to populate rural areas in Sicily (Italy) during the Fascist period.

    Schirò village church

    The authors declare about their work, especially made for Galaverna: <<Starting from the church of Borgo Schirò, Vacuamoenia intends to create a soundscape composition as a representation of a landscape, that is at the same time of a non-real place, in which can converge the dynamic, morphological and physical characteristics of the site and the creative processes of the “digital world” and the perceptions of the listener / composer>>.

    Re:Barsento @c

    cat: gal 0100
    date: jun 21 2014

    time: 31:49
    download as:

    AIF [284,2 MiB]

    MP3 [70,2 MiB]

    RE:BARSENTO It’s been almost two years since the last release “89”, the artistic duo, formed by Miguel Carvalhais and Pedro Tudela, aka @c, is back on Galaverna catalogue with a documentary work about the period the two of them spent together in summer 2013 in the Salento area (Puglia), near Alberobello and Gioia del Colle. They were working on the project Barsento Mediascape, curated by new arts festival Interferenze. Their contribution result in a distinct, long track divided in three parts, organized by levels of sonic exploration: starting from the surface of the out-landscape, sprinkled with mighty lithic construction (Trulli), to end up in the subsoil.There, first, it’s unveiled the stones and dirt mixture which regulate the ancestral relationship between local farmer and olive trees and vineyard cultivations, it then reach a chthonic dimension in the karsic caves scattered in the area. The artist will take you to one breathlessly journey from the outside to the depth of the Earth, from open spaces towards closed ones, towards internal structures, built by both nature and the patient and dedicated work of anthropization operated on the territory by locals. This release presented by Carvalhais and Tudela is a more meditated re-elaboration of their prior work on the subject, released almost raw and live-quality at the end of their staying, June 22nd 2013, at Teatro “G.Rossini” in Gioia del Colle. This work testify about a complex work the Porto’s duo did on the territory, mixing the multitude of voices present in the rural space they explored, and then managed to portrait on different levels (physical, sonic, spatial) through a micro-narration. This work is a discovery that opens new and unexpected visions and allows listeners to relate with profound, semantic and elaborated representations, which turn into narrations of rare beauty.: from the silence of the subsoil to the harmonic sounds of the rocks in the surface, like magnificent echoes and resonances of palpitations, pulses and breaths of (the) life of the territory itself.

    Notes *107* was composed in Barsento during the artistic residency *Barsento Mediascape*, promoted by Interferenze, in June 2013 and was premiered at Teatro Rossini in Gioia del Colle on the 22nd. This version was mixed and mastered in Porto in 2014.*107* is inspired by the landscape and the geography of the Barsento region. Besides the incorporation of field recordings and other sounds captured on location, the structure of the piece echoes the features of the region as well as some of its particular social and cultural aspects. The three movements of the piece are organized in a earthbound succession, starting at the ground level, where rocks are found and used for agriculture, masonry, the trulli, etc., and descending towards the ground, where earth and rock blend and sustain a rich agriculture. In the final movement we reach water, a historically rare commodity in the region, traditionally obtained from wells tapping groundwater, or collected from the limited rains and seasonal snowfall and preserved either in closed constructions or, again, underground. *107* departs from the open and vast exterior and progresses towards the closed spaces, the inner structures, either naturally occurring — such as the grottos — or man-made. With rocks we discover the construction of artifacts, architecture and even nature itself, sustained by the nourishing land, and leading to the throbbing pulses and breathing of life.## Carvalhais and Tudela would like to thank: Leandro Pisano; Alessandro Ludovico; Enrico Coniglio; Antye Greie; Enrico Ascoli; Taylor Deupree; Chiara Ciociola, Aurelio Cianciotta, Raffaele Mariconte & everyone else in the amazing Barsento Mediascape crew.Photos by Aurelio Cianciotta.

    ## Carvalhais and Tudela would like to thank: Leandro Pisano; Alessandro Ludovico; Enrico Coniglio; Antye Greie; Enrico Ascoli; Taylor Deupree; Chiara Ciociola, Aurelio Cianciotta, Raffaele Mariconte & everyone else in the amazing Barsento Mediascape crew.

    Photos by Aurelio Cianciotta.

    Creative Commons License
    Re:Barsento by @c (Pedro Tudela and 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



    Per Pedro Tudela e Miguel Carvalhais, ogni viaggio e ogni esperienza di residenza artistica costituisce spunto per applicare ai luoghi visitati la loro sensibilità di soundscaper in grado di catturare attraverso il suono lo spirito dei luoghi visitati. È un’opera di paziente compenetrazione tra paesaggio e rappresentazione quella condotta dai due artisti portoghesi nel corso dell’iniziativa “Barsento Mediascape”, che lo scoro anno li ha condotti nella zona collinare pugliese del Barsento. Da lì è nata un’istantanea sonora di oltre mezz’ora, affine alla precedente “Re:Fujaco“, che rappresenta fedelmente una paesaggio irradiato dal sole, plasmato dal lavoro dell’uomo che la terra e dalla pietra ha saputo trasformare in materia viva e fertile. Non sembra un caso, infatti, che la lunga traccia parta proprio dalle cadenze iterative di un ferro impegnato a lavorare una materia organica grezza per piegarla alla sensibilità e all’ingegno umano. I medesimi fattori presiedono alla rappresentazione sonora del duo, gradualmente svolta in sibilo spettrale, volto a cristallizzare tempo e spazio in un microcosmo nel quale elementi umani e naturali si fondono in una sorta di cartolina in lento movimento, traslitterazione narrativa di fremiti armonici, respiri e risonanze appannaggio soltanto di un accurato paesaggismo sonoro. La traccia è disponibile in download gratuito attraverso la netlabel Galaverna. [Raffaello Russo]



    Galaverna è un progetto di radicalismo gentile. Label digitale devota all’arte del field recordings, lega pratica ed estetica in maniera indissolubile: pubblica un solo disco a stagione (salvo rare eccezioni) invita a non masterizzare le proprie produzioni per non diffondere plastica inutile, rende disponibile ogni lavoro gratuitamente, mantenendosi fuori dal mercato. In catalogo trovate una decina di titoli (lavori di Yasuhiro Morinaga, Alessio Ballerini e Pietro Riparbelli fra gli altri) che vi suggeriamo di recuperare; oggi ci concentriamo sull’uscita estiva, opera del duo portoghese @c, alla seconda uscita per l’etichetta. Re:Barsento è stato composto nel giugno del 2013 durante la residenza artistica Barsento Mediascape promossa nell’ambito della decima edizione dell’Interferenze New Art Festival, a cui Miguel Carvalhais e Pedro Tudela hanno partecipato. Ne è scaturito un unico brano di mezz’ora che, in tre movimenti, parte dalla superficie e si inoltra nelle profondità della terra, fra pozzi e grotte, organizzando suoni rubati a pietre, erbe ed acqua, insieme ad altri incontrati durante la ricerca. Ma quello che suggerisce il disco va ovviamente ben oltre la semplice valorizzazione sonora degli elementi: l’ascolto fa emergere l’antica laboriosità nei ritmi e poliritmi sassosi della prima tranche, rileva gli spazi sconfinati compresi fra il fruscio dell’erba tagliata e il rumore dei jet ad alta quota, cattura l’anima di questa terra, che si infiamma di clangori industriali (la parte centrale) e filtra poi nelle viscere, scorrendo con le acque sotterranee. C’è, infine, tutto quello che ogni ascoltatore saprà cogliere, magari incrociandolo con la propria esperienza e che rende Re:Barsento un discorso sempre aperto a nuove interpretazioni. Quello che si può dire con una certa sicurezza, la caratteristica migliore del lavoro, è il suo essere un percorso fra natura e cultura capace di coglie la musicalità più profonda e meno scontata di questi luoghi: non una semplice cartolina sonora, ma un frammento, piccolo ma capace di testimoniare lo spirito dei luoghi. [Emiliano Zanotti]


    @c è il progetto che coinvolge i sound-artist Miguel Carvalhais e Pedro Tudela (co-fondatori della label portoghese Crónica). Il loro nuovo lavoro si intitola Re​:​Barsento: un disco che si spinge oltre il soundscaping, rendendo udibile la roccia dell’area pugliese in provincia di Bari. Un uso straordinario del field-recording.


    Miguel Carvalhais and Pedro Tudela were among the co-founders of the great Portuguese label Crónica, and make sonic artworks together as @c. Their latest release came out of an artistic residency in the Barsento region of Italy, and focuses on making audible the landscape and geography they found there. Walking steps give way to a similarly rhythmic hammering of stone on stone, then more footsteps scrunching through the grass as aircraft rumble by overhead. As the single half-hour piece develops the rhythm is taken on by a swirling hiss and metallic rattle, before petering out into a reverberant dripping and sloshing. Without knowing anything about the Barsento region except what can be gleaned from listening to this artwork, I imagine the following: quite a high-altitude location, very dry and open to the wind, but not so high or cold enough to prevent vegetation from flourishing. A landscape without much in the way of human inhabitants, and not so many birds or large mammals either. Caves — dripping, trickling, sloshing caves. A certain remoteness; a calming quietness rather than a stony silence. Dust and sunshine, white powdery stone. The sounds provide enough clues to construct an image, to map out a space, the degree of correspondence of which with the geographic space of the Barsento region remains more or less conjectural. It would be very easy for me to look Barsento up on the Internet, and then judge how ‘accurate’ this picture conjured in my mind by Carvalhais and Tudela’s wandering geographic narrative really is — or at least how it compares with other mediations of the region. I’ve resisted doing this, despite the documentary claims made by the work and the accompanying web blurb. “Re.Barsento” is such an evocative work, such a vivid auditory tale, that I think I would prefer to keep hold of my imaginary Barsento, the one that exists only in my memory, despite never having been there, and in my ears, as I listen. [Nathan Thomas]