AMK is an American pioneer on experimental music based on extreme and concrete turnatablism, active since the early 80s. Owner of the label Banned Production.
Gianluca Becuzzi (born 1962, Piombino-Italy) is an electronic / electroacoustic composer and sound artist active since the first half of the 80’s. He released many albums and performed live around Europe during the last three decades under various names. Since 1999, his artistic production is characterised by a strong experimental imprint, by the interest into the expressive possibilities offered by the technologies and by a clear aesthetic inclination towards abstract forms and micro / macro noises / sounds. He deals with electronic / electroacoustic composition, sound art, audio installations, ambient post-scorings and sound design. The relationships between art and science, between audio and visual-spatial forms, as well as between composition and self-generative processes represent the main themes in my sonological research. Among the artistic productions of the latest years, in addiction to the experimental works under his own name, we have to mention also his solo works as Kinetix, the records in duet with Fabio Orsi, the electro-post-punk project Noise Trade Company and the harsh-power-noise productions as Greyhistory, plus several other collaborations with musicians, theatre companies and videoartists from the experimental area. PROJECTS: LIMBO (1984-2001) SAINT LUKA (1988-1992) MATAFORM (1995-1996) KINETIX (1999-2010) GIANLUCA BECUZZI (2006-Today) GIANLUCA BECUZZI FABIO ORSI (2006-Today) NOISE TRADE COMPANY (2008-Today) GREY HISTORY (2010-Today)
Julian Bonequi (born December 27, 1974 ) is a Mexican artist working mostly with Noise and Improvisation and 3d computer graphics[1] He plays the drums, and experiments with electronics and voice to create a rhythmic environment much richer in atmospheres and harmonic flow situations. He plays in the FOCO Orchestra, and create with Dave Tucker[2][3] and Ricardo Tejero the project Machinations of Joy
Julian Bonequi established himself in Barcelona within the Spanish improvisation free jazz music scene since 2004, but has since also performed with a wide range of musicians working in diverse musical areas since he lived in Mexico. He has performed as guest with the London Improvisers Orchestra as electronic voice, attracted by the roots of free improvisation
From 1995 to 2000 he participated in several projects of folklore, Rock in Opposition and psychodelia in Mexico City.
Since 1995 he played in a lot of punk, psycodelia, stone rock and progressive rock projects, but always trying to give 100% importance to the freedom that improvisation gives to music.
He played with Humus (band) that was founded in 1987 by Jorge Beltrán (guitar, keyboards) and Victor Basurto the full fledged bassist. Both of them, are formers musician of many other important Mexican bands, as Frolic Froth, Smoking The Century Away, Euphoric Darkness, Loch Ness and Semefo. Since 1997 Westminster became more or less the permanent drummer of Humus, who was preceded by Julian Bonequi (1998–2000) when Jorge Beltrán invited Bonequi to made important contributions to different albums(not yet released).[4][5]
In 1999 he met Decibel (band).[6] Decibel were a rare exception to the prog acts of the 1978 period in Mexico, and were well versed in European groups such as Faust, Magma, Gong, and the Italian prog masters Il Balletto di Bronzo. The lineup centered around keyboardist Carlos Robledo and the bassist Walter Schmidt. So he found finally a place for improve his skills and experiment more. With them Julian Bonequi perform in the First International Festival of Progressive Rock in Mexico City, with Magma and Gong also in the program. And the next year, in March 2000 in a concert in the Museum Ex-Teresa Arte Actual in the historic centre of Mexico City, they celebrated the 25th anniversary and present the CD release named Fortuna Virilis, in addition to a retrospective with the work done since 1974. This concert is included in the three-disc box Fiat Lux, and it was the last time Decibel, this legendary Mexican band of Rock In Opposition play together without Javier Baviera, or Jaime Castaneda, but with Julian Bonequi on drums and Juan Carlos Ruiz on bassoon, former musician of Nazca, and leader of Culto Sin Nombre
The same year, in 2000, the Israeli Label, MIO Records produced a 3-disc box called Fiat Lux. The complete recordings. 1977 - 2000, which contains all the studio albums of Decibel, and plus live material and rarities of unedited material. And a small booklet of 28 pages with pictures of the beginnings of the band. Also this box contained the 25th anniversary concert at Ex-Teresa Arte Actual.
With Metaconciencia Julian Bonequi recorded the first album "Bestiario" in 2003 published by the French record label MUSEA Records. The critics received well this music work. A rhythm section perform a colourful and warm instrumental rock with multiple influences: Seventies Progressive rock, jazz-rock, Mexican music The music presented in Bestiario is quite intensive all of which is accompanied by quite an extraordinary drumming.
Since 1995 he played in a lot of punk, psycodelia, stone rock and progressive rock projects, but always trying to give 100% importance to the freedom that improvisation gives to music.
He played with Humus (band) that was founded in 1987 by Jorge Beltrán (guitar, keyboards) and Victor Basurto the full fledged bassist. Both of them, are formers musician of many other important Mexican bands, as Frolic Froth, Smoking The Century Away, Euphoric Darkness, Loch Ness and Semefo. Since 1997 Westminster became more or less the permanent drummer of Humus, who was preceded by Julian Bonequi (1998–2000) when Jorge Beltrán invited Bonequi to made important contributions to different albums(not yet released).[4][5]
In 1999 he met Decibel (band).[6] Decibel were a rare exception to the prog acts of the 1978 period in Mexico, and were well versed in European groups such as Faust, Magma, Gong, and the Italian prog masters Il Balletto di Bronzo. The lineup centered around keyboardist Carlos Robledo and the bassist Walter Schmidt. So he found finally a place for improve his skills and experiment more. With them Julian Bonequi perform in the First International Festival of Progressive Rock in Mexico City, with Magma and Gong also in the program. And the next year, in March 2000 in a concert in the Museum Ex-Teresa Arte Actual in the historic centre of Mexico City, they celebrated the 25th anniversary and present the CD release named Fortuna Virilis, in addition to a retrospective with the work done since 1974. This concert is included in the three-disc box Fiat Lux, and it was the last time Decibel, this legendary Mexican band of Rock In Opposition play together without Javier Baviera, or Jaime Castaneda, but with Julian Bonequi on drums and Juan Carlos Ruiz on bassoon, former musician of Nazca, and leader of Culto Sin Nombre
The same year, in 2000, the Israeli Label, MIO Records produced a 3-disc box called Fiat Lux. The complete recordings. 1977 - 2000, which contains all the studio albums of Decibel, and plus live material and rarities of unedited material. And a small booklet of 28 pages with pictures of the beginnings of the band. Also this box contained the 25th anniversary concert at Ex-Teresa Arte Actual.
With Metaconciencia Julian Bonequi recorded the first album "Bestiario" in 2003 published by the French record label MUSEA Records. The critics received well this music work. A rhythm section perform a colourful and warm instrumental rock with multiple influences: Seventies Progressive rock, jazz-rock, Mexican music The music presented in Bestiario is quite intensive all of which is accompanied by quite an extraordinary drumming.
Massimiliano Viel attended studies in electronic music, orchestra conducting ethnomusicology and composition in Milano, Parigi, Salzburg, Odense with professor such as A. Corghi, M. Stroppa, K. Huber, B. Ferneyhough, K. Stockhausen, F.Donatoni and T.Murail. In 1989 he abandoned the performing activity with piano to pursue new sounds and performing techniques with the electronic keyboard. As a keyboard player he collaborated with ensembles such as the Caput Ensemble from Rejkiavik, the Quartetto Arditti from London, MusikFrabrik from Düsseldorf and orchestras such as the Teatro alla Scala Orchestra from Milano, the WDR orchestra
from Cologne and the Orchestra of Paris, with whom he performed in all the most important theatres in Europe. In 1997 he performed K.Stockhausen’s "Klavierstuck XV" in Mercure Theatre of Montreal, Canada as a canadian premiere. He collaborated as interpreter and assistant with composers such as K. Stockhausen, L. Berio, L. Francesconi, A. Ingolffson, F. Romitelli and F. Guerrero.
At the same time he developed an aesthetic and technical research in musical composition, realising scores for acoustic and electronic instruments, from solo to full orchestra, performed in Europe, USA, Australia, Mexico, Indonesia and Egypt. As a result of his long time interest in the relationship between music and other expressive means, he realised a large number of performances in close contact with theatre, video and dance. In 2001 he started a collaboration with Otolab, one of the most worldwide known italian audiovisual team, with whom he created projects performed in the most important international festivals. I
n 2002 he founded Sincronie, an association devoted to explore the interactions between the western written music tradition and the manifold issues of contemporary culture. Sincronie produces events, an acoustic/electronic ensemble and research/didactic activities. As a natural and complementary activity to composition and production he never ceased to conduct a continuous practise of theoretical research and didactics. He holds the chair of “Composition for music didactics” at the "C.Monteverdi” Conservatory in Bolzano. He is PhD candidate at the Planetary Collegium M-Node, University of Plymouth, UK
Pietro Riparbelli is a philosopher, composer and sound-multimedia artist. Curator and executive producer of the meta-curatorial practice platform "Metasound", spin-off of the publisher Radical Matters - Editions / Label directed by SG, to investigate the dimension between music and contemporary art: http://www.radicalmatters.com/metasound Artist Statement: My work arises from the study of the Phenomenology of perception with particular reference to the dichotomy between Visible/Invisible strictly connected with the studies about the concept of sound landscape. About the environmental works I usually make a deep investigation of particular places, making recordings like field recordings or recordings of signals from short wave radio receivers and VLF receivers, in order to compose conceptual works about the selected sites; together with a deep study about the history of the place on which I’m working on. I’m interested in reconfiguring the sound panorama through its transcendental aspects to create a dimension that is not only sound but mainly a total perceptive dimension that bring ourselves to find out a new kind of perception. I realize works as PIETRO RIPARBELLI especially related to the world of Contemporary Art. So each work arise from a conceptual idea turned into sound. The field in which I principally work is linked to the perception of the sound landscape and to the perception of inner states of consciousness related to other dimensions of awareness. K11 is a project that deals with the world of radio signals, the trans-communication and other invisible phenomena, to create a dimension where the only sound sources are signals from shortwave radio receivers and field recordings taken from very specific locations. In this project I use only sounds coming from the atmosphere and from invisible places turned into fields of drone with particular interest into the study of the dynamics of Noise. With PT-R project I want to investigate the way to create rhythmic sound landscapes making the use of environmental sounds (field recordings) with particular reference to the world of electronic scene. The method I utilize within PT-R project is based on sampling of environmental sound sources turned into rhythmic framework.
Francesco Fuzz Brasini Sevenguitars is a project born from the idea of interaction between sound and space. The project features seven guitars, seemingly identical but technically conceived to produce distinctive characteristics: the seven instruments have been designed and handcrafted with a tonal chamber inside the solid body which interacts with the string's harmonic vibrations creating different sound effects. Every guitar is connected to a valve-amplifier each of witch is equipped with distinctive speakers and different power. The amps are used at the maximum volume and tone. This creates a feedback effect with the guitars: the strings go in auto-oscillation creating different harmonics depending on the instrument and the tuning, and reacting with the acoustic features of the performative environment. The musician loses, therefore, the role of executor and becomes only the creator of a process open to unpredictable results and closely related to the spatial contest of the performance. Every place, every contest, becomes an important variable able to influence the result: the sound, therefore, is more linked to the spatial dimension rather than to the temporal one with which the music is traditionally associated.
Massimiliano Viel (also as OTO LAB) attended courses and master- classes in piano studies, conducting, electronic music, ethnomusicology and composition in Milan, Paris, Salzburg and Odense with professors such as A. Corghi, M. Stroppa, K. Huber, B. Ferneyhough, K. Stockhausen, F. Donatoni e T. Murail. SIMM-EL is a project devoted to the exploration of electromagnetic soundscapes.
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