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Luciano Maggiore & Francesco fuzz Brasini
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LUCIANO MAGGIORE & FRANCESCO FUZZ BRASINI - HOW TO INCREASE LIGHT IN THE EAR

Year: 2012
Record label: Boring Machines

How to Increase Light in the Ear is the second release on Boring Machines by the duo part of the fertile Bologna (IT) area where sound/art projects like Xing/Raum, Netmage and Sant’Andreadegliamplificatori are run by a community of forward thinking artist and musicians to create a meeting point for different languages and sensibilities.
As for its predecessor, this record has been created using tape recorders and several electronic devices (Maggiore) and a number of self-built guitars (Brasini), under the control of Mattia Dallara who gave shape to the sound in the acoustic space from the mixing board.

While the previous Chasm Achanés was based on low and rumbling frequencies, Maggiore and Brasini research is now focused on high pitched waves, through which they create a continuous movement of overtones and resonances. Tiny mechanical cracks are heard through the frequency bliss of the first track, a last resemblance of humanity into this otherwordly atmosphere.
The second track has a continuous click, almost a clock, hidden under the microtones of three different frequencies which create another blissful and luminous drone with an ecstatic feeling. When the track is almost coming to an end, a monstruous bass frequency, who lied in the  ackground forever, finally comes in, changing shapes and colours of the drone. Headphone listening is recommended.

LUCIANO MAGGIORE & FRANCESCO FUZZ BRASINI - CHÀSM ACHANÉS

Year: 2011
Record label: Boring Machines

Chàsm Achanés is the result of a common project between two experimental musicians of the fertile Bologna (IT) area where sound/art projects like Xing/Raum, Netmage and Sant’Andreadegliamplificatori are run by a community of forward thinking artist and musicians to create a meeting point for different languages and sensibilities.
Recorded in one take at Officina49 in Cesena (IT) this record has been created using tape recorders and several electronic devices (Maggiore) and a number of self-built guitars (Brasini), under the control of Mattia Dallara who gave shape to the sound in the acoustic space from the mixing board.
Chasm Achanés generates a circular temporality in which the listener is invited to remember what the past is and to anticipate what could happen. An infinite presente tense always tending to something else, raising a sufficient margin of uncertainty so that the doubt creep in and let you believe that the repetition might not happen, the feeling that the future is always unknown.
A surface of droning minimalism à la Phill Niblock dominates over an instable background made of rumbling frequencies, microtones and small resonances.
Chàsm Achanés is like listenint to an Oren Ambarchi record with the head in a jar of wasps.