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Recensione "a Rose" di Stefano Panunzi

As mentioned earlier, Giancarlo take part in the song "The Bridge".
We've got to listen carefully to the entire work and we offer a preview of our review. The compliments are all to Stefano Panunzi ...

Stefano Panunzi

Rose


Emerald Recordings
2010

Five years after the fine solo debut ( Timelines ) and only a few months after his involvement in the super-group Fjieri (which is one of the cardinal axes), the keyboard player Stefano Panunzi, finally finds the right moment to publish his second work, Rose . As Timelines and Endless (the cd Fjieri), also Rose , uses a large list of talented musicians, all with a common artistic sensibility: this allows all ' album to be true also in the cooperation born from a distance and not to transmit any sense of artificiality. The great merit of Panunzi, as well as to have a rare delicacy from its composition, is to be able to pursue very delicate balance, creating architectures of complex but lightweight materials and fluid forms. Often I read the name usually associated with the Progressive Panunzi: Frankly I can not see him in any attitude but that is common to those who, consciously or not, joined the ranks of that sort. Panunzi not exceed in virtuosity or protagonists: his art is somewhere else, if anything, the orchestration (or more often in minute details), but knows how to stay one step back, however, encouraging the expression of all features at the end of the disc, not knowing in advance what his instrument of choice, you might not guess it is the work of a keyboard. And this is my absolute honor

E 'then almost impossible to find a keyboard-player of the progressive he can not be adequately or credibly to say modern, but at least today. Panunzi tastes purely contemporary or, at best, linked to contemporary classicism that they belong to those musicians that move transversely between electronic / jazz / ambient / new-wave / experimental / psychedelic rock / song Copyright , some of which effectively give life to this disc ( Andrea Chimenti , Tim Bowness of No-Man, Mick Karn , flautist Theo Travis , Giancarlo Erra of nosound, Thomas Leer , Markus Reuter of Centrozoon Europa String Choir and the trumpeter Mike Applebaum ), while others, although not present in Rose, are "ideally" involved, being part of the atmosphere and inspirations that underlie sound universe ( David Sylvian, David Torn , the Tuxedomoon, the Rain Tree Crow, Richard Barbieri, the Talk Talk, Brian Eno, Robert Fripp ).

Compared to Timelines , Panunzi seems to want to shun the rock component (probably permanently merged or simply satisfied Fjieri in the project), and instead pursue other ways to travel, maybe less easy in the early plays, but more personal when you can tune your breath with that of Rose . And so the sublime beauty of Child Of Your Time (so evocatively played by Sandra O 'Neill already appreciated and Timelines duo Alias \u200b\u200bGrace) is revealed in all its essence. Or that in bright twilight, full of excitement, made by the high I Miss You, in which, among others, find Andrea Chimenti on vocals and Mick Karn on bass . The vocals of Tim Bowness always found in the atmospheres of Panunzi an ideal port of call: and so from this port, Fades is another perfect corner of introspective spell. Unreality is instead an instrument able to rise to the top of the entire work and dizziness. Also notable is the spell of rythmic On-Line Now! , condotto dal basso funk di Mick Karn, e guidato in territori alt-jazz dalla tromba di Mike Applebaum. The Bridge , fra le tante convergenze artistiche di a Rose , è quella che in qualche misura appare la più omogenea, organica: Giancarlo Erra dei NoSound, presta voce, chitarra e un testo sul quale i timbri emozionali delle tastiere si stagliano sollevando l’anima per poi lasciarla libera. Lights And Shades , tra evanescenti note di piano e solenni accordi, tra i palpiti di una batteria quasi marziale e i giri del violoncello, ci congeda da a Rose con il desiderio di ricominciare tutto da capo. Magari dopo qualche minutes of meditative silence.

There are cases in which the experience on their shoulders, fingers, does not correspond to the desire to get under the lights and their ability to dispense wise: Stefano Panunzi part in this rare case studies: the experience is all tense the soft light, diffused. This is embarrassing to address him with the title of Master. Recognize them by their fruits, someone said. Here, the harvest is rich and ripe.

Now we can say that the artistic harmony that has developed around "the loop" of Burning Shed (ie unique experience that is both label and online shop), and so gave rise to a virtual (but real results) aggregation of musicians inspired by an idea "high" pop. This aggregation is specifically extended to our country, allowing composititori as Stefano Panunzi and Giancarlo Erra, to get their perspective where sound would have been impossible otherwise, and allowing, simultaneously, to (watch) listeners around the world to direct, with conviction, their ears.

Stefano Fasti
[ this review is published on www.storiadellamusica.it that urge you to visit ]

http://www.stefanopanunzi.it/
www.myspace.com / stefanopanunzi
http://www.emeraldrecordings.com/
http:/ / www.burningshed.co.uk/

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CONTACT: NATURAL COCCIOPESTO Tiepolo

arch. Joseph Anthony Longhitano
e-mail:
archgalonghitano@gmail.com
giusiepololong@yahoo.it
tel. 3401663703

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MORTARS MORTARS NATURAL MINERAL BASE COCCIOPESTO

MORTARS NATURAL MINERAL BASE COCCIOPESTO
infinite possibilities and structural types of masonry, often characterized by materials that conform to the morphology of the places they come from, can be treated by identifying key elements, which are the load-bearing walls such as blocks and mortars. These, composing, define the static quality of the products.
It 'important to note that the historic masonry blocks of rock, whether igneous or sedimentary origin and mortars, modular, defining the parts essential structural and building.
the malt, then, the place and time should first of all that pertains to the investigation stage that help to define the project.
This phase, according to seniority, should be treated with thorough understanding, because the mineralogical composition of the compounds, the volume ratio defined by the aggregate binder, the resulting mechanical properties of the final mixtures, through a clever pose, give satisfactory results and durable.
Regarding the volume ratio between binder and aggregates should be pointed out the importance of decreasing amounts of the latter. The mixtures that make up the rough coat, il traversato e la finitura, devono avere resistenze di compressione, flessione e modulo elastico, decrescenti secondo dati definibili anche attraverso prove fisiche.
Assoluta rilevanza riveste la conoscenza della tipologia morfologica e strutturale della roccia e della malta d’allettamento, presente, nel manufatto in esame da recuperare e conservare. Le caratteristiche intrinseche, delle murature preesistenti, rappresentano i dati di partenza per definire un mix di malte appropriate da realizzare ed adottare.
Le scelte progettuali delle malte contribuiscono, in maniera sostanziale, sia in termini strutturali, sia in resa cromatica, in particolare quando quest’ultima è ricercata solo attraverso l’uso d’aggregati naturali senza aggiunta d’additivi coloranti.
La malta per finitura non è solamente mera espressione coloristica, ma parte integrante dell’intero pacchetto che compone i diversi strati del corpo murario che devono assorbire e trasudare in modo consequenziale a garanzia di continuità e scambio.
La cromia finale, del manufatto, non è effetto percettivo affidato solo ad una pellicola superficiale ma risultato materico che assume spessore e profondità.
“Intonaci Minerali Naturali”.

CONSIDERAZIONI
L’uso in tempi passati dei materiali naturali e delle corrette tecniche di posa, hanno permesso la conservazione nel tempo dei manufatti storici ereditati.
Oggi le conoscenze acquired it possible to propose technical and philosophical content that serve to preserve and protect historical monuments and centers of social value over the centuries have resisted adding together, all up to make up the vast architectural heritage.
It requires, therefore, contribute to the conservation of the assets inherited.
time no longer the protagonist of way and corrosion, but the material that makes up the artifacts, such as basic essence that survives over time and to remain solid and eternal.
Through the manipulation of matter, seen as strong and durable substance, the Man in its ongoing research and processing has demonstrated the ability to balance power with wisdom l’ambiente che lo circonda.
Un elemento naturale e fondamentale, usato consapevolmente fin dall’era Mesopotamica, è stato ed è ancora oggi il CARBONATO DI CALCIO, tale materia naturale da sempre è stata trasformata ed adoperata, anche, come legante.
La ricerca, deve mirare, alla possibilità di proporre elementi costruttivi naturali, come la storia insegna, che meglio si sono conservati nel tempo.
Nel periodo contemporaneo, momento in cui è forte la necessità di recuperare i Manufatti storici ereditati, necessita fare chiarezza sulla possibilità di riproporre materiali naturali che nel corso dei tempi forse si sono confusi con interpretazioni che spesso sono lontane dalla vera essenza della materia to be rediscovered.
If we are to successfully intervene in the recovery of historic buildings and monuments in order to pass on to our children what we have inherited from our parents, culture and sensitivity requires technical expertise.
To better understand the intrinsic meaning of the lime used as binder is to be noted that the need to tie and then cement, brick elements such as the archaic object identified as the first prefabricated module built and used by man since the last Ice Age (7000 c) in order to obtain compounds that would provide structural stability and durability to the products, what is the applicant in time.
note: It defines concrete, the result obtained by mixing components that react chemically and mechanically solidified.

2) calcium carbonate, used as an alloying element, pure lime


The mineralogical nature of the calcium carbonate also determined on the basis of the possibility of change of temperature of firing, in the specified way to the marl, the end result of product.
Formula Limestone CaCo3 also commonly called, is the stone in its percentage of purity up to 98% identified the pure lime or calcium lime. This carved stone and fired up to 1000 degrees which causes that matter to excellence, free from impurities, is searched. The hydrated lime
pure. Processing.
LIME FOOTBALL can be processed in putty, in lumps or powder, milk. I see
processes: cooking that turns the limestone into quicklime, the lime off properly, can give:
hydrates in the pit, putty putty or milk;
quicklime properly extinguished through a controlled hydration can be machined lumps of lime and then ground into powder.
The use of such kicks mixed with mineral aggregates, which do not contain glassy are not recommended in wet areas.
remains to be noted that this pure limestone, slaked worked, it is strongly recommended for the recovery of plaster interior decorations, never subjected to moisture. NHL
natural hydraulic lime.
If the calcium carbonate CaCO3, in its mineral composition, clay content present in varying amounts (for residual free lime supeioroe 15%, after firing up to 1250 ° marl, we shall have a NHL 3.5, see regulations EN459-1) able to get a lime harden in the presence of water, this is defined as Natural Hydraulic Lime "NHL" available only from marly limestone workable in lumps or in powder form and never slaked otherwise reacting with water , harden off the stage directly. Hydration must occur, spraying, in maniera controllata durante la fase di spegnimento della calce viva mantenuta a circa 120°.
L’idraulicità è data da componenti mineralogici specifici, in particolar modo dagli elementi vetrosi AS presenti nella marna, trasformati ed usati come i silicati e gli alluminati.
Questi, composti chimici, si ottengono in una NHL dal legame che avviene in fase di cottura tra l’0ssido di calcio presente nel calcare marnoso e la presenza nello stesso di Ossido di allumina e Ossido di silice data dalla componente argillosa, il tutto si trasforma DURANTE LA COTTURA:
- ossido di calcio + ossido di silice = SILICATI
- ossido di calcio + ossido di allumina = ALLUMINATI
La calce libera che influisce anche sull’indice: NHL 2, NHL3, 5, NHL 5, representing the amount of calcium oxide + H2O (also known as Portland) in excess and not combined in the cooking phase as seen previously. The higher the presence of free lime, the lower the resistance and the level of water availability

4) Mortars: AERE
MORTARS;
MORTARS WITH AIR HYDRAULIC BEHAVIOR, NATURAL
hydraulic mortar.

The lime derived from pure limestone to 98%, mixed with aggregates of different nature can give according to the mineralogical content of the latter, mortars of different types: first type

air mortars obtained with mineral aggregates: Taking el ' depend on the hardening total evaporation of water (moisture fear);
A second type
mortars air with hydraulic behavior HL: they hold even in the presence of water and then have hydraulic behavior. The legislation is not binding on the construction of a mortar HL then this can be added to Portland cement, masonry recommended in history (presence of gypsum, problems for the possible formation of ettringite).
second type B
CAUTION: MAY BE MADE ONLY hydraulic mortar HL USING APPROPRIATE MATERIALS AND AGGREGATES as silica sand, earthenware, pumice.

third type

natural hydraulic mortars hydraulic lime derived from natural limestone Marl, mixed with any type of aggregate will always natural hydraulic mortars.
It 'important to stress that a lime produced by a pure calcium carbonate (up to 98%) mixed with inert substances (first type) loses strength when subjected to rain or rising damp weather, etc. .. This leads, preferably, the exclusion of the use of mortars made with Air inert of which you can be assured in the mineralogical sense.
In humid environments, the mixture of plaster must be made with active hydraulic units (according to type b) having so mineralogical content with compounds such as vitreous silica oxide and aluminum oxide. This may ensure the exclusion of addition of Portland cement, and water resources to obtain the guarantee of durability. As stated
requires the need to know the aggregate, which is mixed with lime, it must contain enough in its chemical component glass, intended as AS (alumina and silica).

The reading is difficult in the case of aggregates by their nature can have or not have certain characteristics (such as volcanic aggregate, only referring to content glassy AS in terms of solubility, can not have them or have them inside the its mineral component, this possibility is mainly due the cooling time and the last layer which was extracted from the aggregate quarry from lava (basalt or rhyolite).
The reliable choice, which sees the use of a cluster than inside it contains the soluble components glassy AS needed to obtain an active hydraulic lime is to be sent to the cooked green clay mineralogical whose components necessary to us with substantive .
Clay is composed mainly = "SiO2 + Al2O3 + Fe2O3.
A lime mixed with pozzolana COCCIOPESTO E (the latter obtained by baking the clay at temperatures not exceeding 950 ° and then properly seasoned ground) results in a hydraulic mortar that is not afraid of natural wetlands, which will ensure over time, mechanical strength.
It is noted that a layer of lime-free AS is recommended only in very dry environments, as well as previously said the only use of inert materials mixed with "well seasoned hydrated lime" affected by the moisture, even with the addition of cement Portland.


greetings.
arch.giuseppe antonio Longhitano Tiepolo.

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SENSITIVITY 'HISTORY. to all my fellow architects, engineers and enthusiasts of fine arti.LETTERA OPEN:

OPEN LETTER: TO ALL COLLEAGUES
architects, engineers and Connoisseur of Fine Arts.

The purpose of this missive, aimed at the defense and protection of heritage Architecture, through a main part of creating awareness of the various Orders of Architects of all the provinces and the Superintendents. All
targeted for use and the rediscovery of natural materials, with the main purpose of protecting monuments inherited during the course of time.

Design engineers "real witnesses and architecture of all the children gone" are those who, through the centuries, and have given continuity to the story.
"MARCO POLLIO Vitruvius" as Father coordinator and observant narrator of the techniques and natural materials. The proper use of the latter allowed for the creation and preservation of artifacts over time which have survived to this day.
inherited knowledge, allow to propose technical and philosophical content that serve to preserve and protect historical monuments and centers of social value over the centuries have survived and are all summed up to compose the huge Architectural Heritage that the whole world envies our nation.
We must contribute to the conservation of the assets inherited.
time no longer the protagonist of way and corrosion, but the material that makes up the artifacts, com'essenza essential that time can survive and remain solid and eternal.
Through the manipulation of matter, seen as strong and durable substance, the Man in its ongoing research and processing has demonstrated the ability to balance power with wisdom to his surroundings. All
confirms their willingness to continue in the growth and metamorphosis, with the absolute knowledge that the results are tangible amount of your ever-changing historical depth.
the cornerstone of the above expressed, is determined by the desire to preserve the memory over time and the need to give meaning and continuity to our individual and apparent short presence in the world in which we live.
We, as a means of historical memory, through research and the rediscovery of natural materials that meet the requirements of durability and quality ambientale – CALCE IDRAULICA NATURALE – POZZOLANA – COCCIOPESTO - Intonaci Naturali a base cocciopesto, in una sola espressione “De ARCHITECTURA”.
Noi Tecnici-Progettisti come soggetti coscienti, modesti e consapevoli d’essere anelli di quell’immensa catena che lega l’uomo alle cose attraverso lo scorrere del tempo.
Noi a tutela – del passato – del presente – del futuro – attraverso processi che mirano al benessere dell’uomo e del patrimonio architettonico, per un ambiente-contenitore di qualità che aiuti a vivere e non ci soffochi.
Tutto intorno all’Uomo si trasforma, noi esseri protagonisti siamo capaci di renderci felici o infelici, essendo aware of our limitations and our own power.
us aware of our inner weaknesses which constantly torment us.
This situation primarily determines the impossibility of certainty to justify the real reason for our existence.
Convinced that there is no absolute truth, why not certified, we cultivate the conviction and the will to want to be careful to reach goals through diligence and consequential logic, in order to highlight the efforts of the work that will be willing to criticize, perhaps, for the Its end result does not meet aesthetic or individual only because it contains elements that may be of interest to someone rather than others.

We as a center of research and development through conservation because it is necessary to transform and become, in the respect and protection of the housing environment, from son to son, through the times.

The realization of what has been argued, because we are not only thinkers, will be determined by "training documents" to pursue with passion intent necessary for an understanding of the techniques of conservation, through the discovery and use of natural materials in order to ensure high professional quality.
Together "we" all elements of a single series for the protection of our environment and architectural heritage.

dott.Giuseppe Antonio Longhitano
ARCHITECT
Conservation Research and Development
M_I_A MORTARS MADE OF NATURAL RECOVERY OF HISTORIC
TIEPOLO

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NoSound? No Fashion...

Available all-new t-shirt nosound, personally designed by Giancarlo.
We have bought at the concert and we can tell you that the quality of fabric and printing are very high.
can still be purchased here: http://www.burningshed.com/store/nosound/multiproduct/44/1641/

for the occasion are no "packages" at special prices for "A Sense Of Loss " (digipack CD + DVD version) + t-shirt.

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Giancarlo Erra sul nuovo album di Stefano Panunzi...

As had happened in previous " Timelines" (2005), Giancarlo Erra is present as special guest in the new album Stefano Panunzi entitled "A Rose " (http:/ / www.burningshed.com/store/stefanopanunzi/product/60/1884/ ) collaboration refers to the song The Bridge , the text is really written by Giancarlo. On track Erra also plays guitar and sings.

For more info: http://www.myspace.com/stefanopanunzi

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NOSOUNDS LIVE @ CROSSROADS - Le foto !!!

Hello,

here comes the first pictures of the concert held at the Crossroads. We thank Stefano Fasti, Luca Fiaccavento, manuspi, rosco57 nimahel and for the material.
Soon more photos and videos!!

These photos of Stefano Fasti:

All

Get your

Here are pictures of Luke Fiaccavento:

Here are the photos of manuspi:

Here are the photos of rosco57:

Here are the photos of nimahel:

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NOSOUND LIVE @ CROSSROADS, OSTERIA NUOVA (RM), 12/02/2010

And in the cold days of the return of snow in Rome (the whitewashed memories of 1986 have a special place in memory of those who crossed them), the nosound give birth to their hottest concert of their career.

A concert sweaty, intense from the first notes to the last. On stage, the quintet "classic" (Giancarlo Erra on vocals and, along with Paul Vigliarolo , on guitars, Paul Martellacci keyboards, lights Alexander on bass, Gigi Zito on drums) blends with Wooden String Quartet (also in the "classic" configuration, two violins, viola, cello) is funds for the implementation of the equilibrium that gives rise to the entire execution of the last album A Sense Of Loss (KScope / Audioglobe 2009): the part of both musicians, both from the public's attention becomes an element essential. Compared to the studio version of course the performance transforms the sounds and timbres, different return and new nosound, faithful in all and all the melodic lines, but without anxiety to regain so (too) true and fair view recorded. With this approach, I begin seriously to believe that more and more, from now on, (co-) existence of these two souls of nosound: the mixing of a perfectionist and that, more improvvasitiva, ready to meet any change in fertile, that, reason of things, life will only above a stage. So needless to say that all members of nosound are, year after year, concert after concert, taking the safety of their expressive possibilities / instrumental, can be described as individuals and as part of a group. More will be able to concentrate on the work of their music, more will be able to play-play-play, the more these fruits become more mature. From the airy gait of Some Warmth Into This Chill (wow that appropriate title for the day!), Trips to floyidiane Fading Silently (a closure to her heart: delicate solo guitar crescendo of the string quartet ), the harmonies of painful Tender Claim , all'outing emotional My Apology , down to the bottom of the suspended Constant Contrast and more, down at the bottom, until the black heart of A Sense Loss Of , that the ride (including pain cosmic opening to the sidereal light of hope) of Winter Will Come , everything goes incredibly fast (and say that I spent 55 minutes ...), sensation stops, without failure, without interrupting the flow of sensitive material of sound. It is not over yet articulated tail, martial rhythm of the march Winter Will Come, which already feels regret for the approach of the closure of a unique event. The second set (which is less than Wooden String Quartet) opens with a repechage in the past (and it seems like yesterday but years have passed since that cinq Sol29 , which was the opener), In The Air White : today is more persuasive, più rock, più “interattiva” nell’interplay fra i musicisti. Places Remained a seguire, è il solito solidissimo pezzone di perfetto new psychedelic rock , capace di scuotere il pubblico, introducendo al sound dei NoSound (scusate il gioco di parole...), anche chi non aveva già trovato una “sua” porta di accesso. From Silence To Noise , è l’altro asse cardinale nell’immaginario e nella discografia del gruppo, costituendo la sintesi delle loro tante essenze (quella che si richiama ai Pink Floyd, quella che si dipana tra i rivoli dell’Ambient, quella eterea, quella concreta). Il secondo atto si chiude con quello standard “della prima ora” which has now become Idle End , all played on the song Arpeggiator repeated in a crescendo until the very end long solo dreamy. The faces of these songs have grown up with those of the components of nosound, wrinkles have not led to think up tricks to hide them, but have brought forth a new way to exist.

For the encore, yet the ensemble approach, with the return of the Wooden String Quartet, to perform that song is that capital Kites (from Lightdark), can reveal the entire musical universe training, and the instrumental The Moment She Knew now elected by piece-formula di questa esperienza, a mio avviso rara e riuscita, di equilibrio fra post-rock, ambient e rock psichedelico, che coincide con il nome stesso dei NoSound.

Come ultimo dono una opportuna riproposizione di Some Warmth Into This Chill , che ripetuta alla fine risente di un ulteriore miglioramento, condensando tutta la scioltezza e il calore ormai guadagnato.

Come altre volte, più di altre volte auspico, anzi noi di Invisible Bane auspichiamo, ai NoSound di poter realizzare il sogno di una meritata tournée. E’ veramente un peccato che solo poche centinaia di eletti abbiano modo di assistere ai loro concerti. Ad Anyway, I'm happy to be among them ...

Stefano Fasti

Setlist:


Act 1:

A Sense Of Loss

Some Warmth Into This Fading Chill
Silently
Tender Claim
My Apology
Constant Contrast
Winter Will Come

Act 2: In The White
Air
Places Remained
From Silence To Noise
Idle End
Encores:
Kites
The Moment She Knew
- -
Some Warmth Into This Chill

[This review appararirà also on the site http://www.storiadellamusica.it/]

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... Yesterday I had the honor to attend ( as usual) to rehearsals for the concert tonight. There was a string quartet and the group has proven its cohesion as a quintet, both serious and facetious. Of as a kind of exorcism is used to break up their tense moments. In the lineup there, "revealed" nothing except the fact that I seemed to work perfectly, especially in the selection and ' alternation of the songs. I will tell you the truth: I think a lineup like that would have value even if fully performed by the quintet. However, those who come, DESPITE THE SNOW (Giancarlo ...), you could leave the UK to attend a truly unique concert. Even the songs "cardinals" of the two previous albums will be in the setlist. The first part of the set will have a very theatrical setting, type in the concert of Mr. Ros with Amina.

Stefano

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NOSOUND in concerto !! A Sense Of Loss live (feat. Wooden Quartet)

Hello everyone!

Want a wonderful opportunity to listen live nosound's new album "A Sense Of Loss"?

not miss the concert Friday February 12th, 2010 at XRoads Live Club of Rome!

Please note that the performance of the entire album will be 'performed by nosound together with string quartet WOODEN QUARTET!

will also 'performed a second set with songs from previous albums and .... some surprise!

The ticket will cost € 10.00 + advance, and to a limited number of people give 'right to a "special package" that includes:

- reserved seat in the front rows
- Input early to soundcheck and meet and greet with the band
- Free Download the track "Fading Silently "
- A special personalized badge for the event

To qualify for the offer and 'necessary: \u200b\u200b
- buy tickets online (see' further details)
- send email with name and number of tickets ; xroadsliveclub@yahoo.it .

I'd say 'a great proposal that will allow you' to enjoy the concert in the front row and get a free download and a memory of the evening, which of course .... . become 'collectible!

Here are the details:

Date : Venerdi 12 Febbraio 2010

Apertura porte      : ore 21.00

Inizio concerto     : ore 22.00

Prezzo dei biglietti: 10,00 euro + d.p.

Prevendite su       :  GREENTICKET  

Venue               : XROADS Live Club ,

; Braccianese 771

00060 Osteria Nuova

(Rome )

Phone 06.3046645
card of the event: click here !

map to get there: click here!

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Recensione su A Sense Of Loss - by Stefano Fasti

Friends, on the occasion of the new (and third!) Nosound of studio work, here's the review for Stefano Fasti published Music History:

The goal of the third album for Nosound is not only a natural progression in a course record, but this marks a change of pace that makes it seem like the Previous work in the studio far, far more than it actually is the distance in time spent.

the past two years by "Lightdark" (2007), the band has thickened experiences such as to accelerate the normal process of growth: a role in this was definitely played the match leader Giancarlo Erra with Tim Bowness (vocals and melodic soul of No-Man and owner of the label Burning Shed), but also the very nature of Erra, who guided him to not compromise away from the high professional standards he set for himself. The restocking the stable KScope was achievement a goal that a few years ago would have seemed just a dream.

But "A Sense Of Loss" is a dream come true: the band, stable in training (Erra, Paolo Martellacci, Alessandro Luci, Gigi Zito, Paul Vigliarolo), in addition to achieved a complete harmony sound has opened a string quartet of the graft (the Wooden Quartet, directed by Henry Razzicchia) that plays an important role in the resolution of songs: so far for any guitarist would have been impossible to avoid the temptation to a solo, Giancarlo demonstrates how you can manage to evade every rock cliché senza perdere un grammo di energia, di pathos, di totale pienezza. "A Sense Of Loss" non è un disco rock e neppure post-rock (come si dice da più parti): "A Sense Of Loss" è un disco denso, stratificato, dotato di una dimensione sonora profondissima, il cui impatto è notevole anche in brani in cui la chitarra elettrica non c’é affatto e in cui la batteria o è assente o ha un ruolo apparentemente marginale. E’ un poderoso autoritratto di un’anima dolente (appunto quella di Erra, compositore unico e suggeritore unico degli altri attori protagonisti del suo malinconico teatro sonoro), un’anima stavolta in grado di denudarsi interamente, per permettere ad ogni singolo brano di essere una rivelazione.

And every song makes its mark, in what could be an album themed on the posting (love, human) and the overcoming of it. The dominant view of his music evolves from the concept of refinement twilight of those No-Man, between ice and fire from the suggestions submitted by Sigur Ros, from slow emotional uprisings of Bark Psychosis, from deep roots like those of musical research paths opened by Brian Eno or David Sylvian. But these fleeting impressions that fade as soon as you are immersed in music. In the previous "Lightdark" there was already a "bridge" to "A Sense Of Loss" and this bridge si chiamava Kites. Da lì scaturisce tutto il senso del nuovo lavoro: ogni composizione corrisponde a uno stadio di evoluzione nella modalità di espressione del dolore. Una scultura musicale modellata attorno alla sofferenza.

Ogni traccia è dunque un solco impresso, fino alla lunga cavalcata finale (Winter Will Come), nella quale l’abbandono cantato, suonato, è assoluto, ineluttabile, definitivo. Ma necessario, come necessario è l’ascolto di "A Sense Of Loss". Un album distante da mode, che rifugge da qualsiasi facile inquadramento, nel momento in cui sembra messo a fuoco. Una unica avvertenza: il disco richiede l’ascolto Full and courage to tune their own emotional stories with those told, sung, played, not in an attempt to exorcise the ghosts, but the reality.

And there 's also a video available on Youtube: "Constant Contrast"

Does Fuji Make Film For My Polaroid Sun 600

Recensione Lightdark up - by Stefano Fasti

Dear friends, here's a new review of work on the second Stefano Fasti nosound in the study, published in OndaRock and Wonderous Stories:

Nosound are back, three years after the debut of "Sol29. The first news is immediately noticeable that we can now speak and write in the plural: the Nosound of "Lightdark" (accepted in the sophisticated team of Burning Shed) did not exist when "Sol29" came to life. Nosound amounted to Giancarlo Erra's solo project, guitarist / keyboardist able to compose symphonies small minimal, never follow the transport to the solo that often so the keyboard as the guitar, all too frequently, can not resist. But through years of experience live, Erra has found new chums (never simple soldiers) are able to share that idea and implement it with a musical sound finally complete, but without distorting the initial application.

And so in every fold, in every crevice of "Lightdark, in every shade of color turns out to be the actual essence of a formation that does not deny its influences and who seeks, in its way, its own way of expression without the emphatic desire to dazzle with special effects. A judge this micro-universe is full of psychedelic minimalism, capable of buoyancy as descendants of rarefactions, inaugurating a unicuum where the melancholic is perhaps the hallmark. A concrete case of syncretism between the No-Man, Bark Psychosis, Pink Floyd, Brian Eno (with Moebius and Roedelius), David Sylvian, Steve Hogarth of Marillion, Sigur Rós, yield more concrete by the cohesion between the members of the group.

The propulsion of pure rock Floyd "Places Remained" give the initial and tear open, like a knife, a wound in the fabric on which an emotional song cardinal as "Someone Starts To Fade Away" (with Tim Bowness of No-Man on vocals) spreads, with making persuasive, handfuls of salt. The legacy of the best progressive (not a rhetorical figure consisting of the "cauldron progressive," but the true essence of progressive, with the amazing emotional, not technical noise) explains its wings in a long "From Silence To Noise", rising to levels not exactly the usual prog and at the same time, inconceivable post-rock (whose shores are lapped by the well Nosound): reminiscences of things, hours, days, faces, innocent dreams may never be forgotten, but buried by the weight of years, but tangible in the colors and smells, they reappear in the form ghost guardians.

sylvianiche The evaporation of "The Misplay" (and the piano and cello, which gives them the breath of life) and then propel the memories in a timeless limbo of the past where the river is lost in a thousand streams of possible futures. Then forcefully "Kites", another track capital, reveals a whole idea, a vision, a way of thinking about music that is not afraid to expose themselves to the wind, currents, comparisons, without the fear of this permanent exhibition of feelings and without any shame for this nakedness of the soul. "Lightdark" also knows how to be gracious and instead of leaving the listener in this state of sensory emotion, you know give the peace with a title track which is an invocation to the ambient upper echelons of the cosmos.

Brazilian Recovery Time

Review on Sol29 - by Stefano Fasti

Here is the review published on Wonderous Stories by Stefano Fasti respect of the first album the nosound:

A few months away from ' promotional EP that sanctioned the move towards more visibility, the project nosound comes out with what is actually his first album. Under the cryptic title of Sol29 are summoned, as well as pieces that are part of the EP mentioned, a series of compositions of brooding nature, breath deep and in tune with the affinity of psychedelic-ambient composer Giancarlo Erra. The value "ambient" by nosound did not, however, aims to paint a landscape timidly: The tones are warm and intense and the work is drawn in the plots sound and the result of a long commitment to writing. A key episode turns out to be, since the first listen, the instrumental The Moment She Knew (followed by tail Waves of time). One of the best songs on the album però, secondo i gusti di chi scrive, Overloaded, una ballad malinconica che prende avvio sotto un anelito di Mellotron e si sviluppa con la chitarra acustica a sorreggere un canto delicato e sospeso, con un climax centrale, degno della conclusione di Entangled dei Genesis: da stringere il cuore. Idle end avevamo già avuto modo di apprezzarla sull'EP dello scorso anno, ma ancora oggi non smette di trasmetterci emozioni specialmente nel fluido ed etereo assolo di chitarra, così come anche Hope for the future, che dopo tanta bellezza pare voler pacificare l'anima. La title-track ci porta poi, nel finale, in un limbo fatto di una luce abbacinante e completamente avvolgente, con riverberi non dissimili dalle luminosità di David Sylvian (vedi Darkest dreaming). Who loves the atmosphere of Porcupine Tree and dilated more subdued, and is therefore able to better appreciate the No-man, and in general those who, by abstraction, by Pink Floyd as the interludes of love and connection of the digressions that do not sound the long and bombastic guitar solos, then this disc will find a place to lie down to fly (away) his imagination.

(Stefano Fasti)

Yg Entertainment Audition 2009

Invisible Bane - The Italian official fanclub 'online!

Hello friends,

welcome on this blog, which is (or at least, has the whole ' intention !)  il punto di riferimento per i fan italiani (e non !) dei nosound !

In questo blog troverete recensioni, notizie, foto, alcune succose anteprime, informazioni sui concerti e i biglietti, e quant'altro possa esservi d'aiuto per seguire in maniera tempestiva, aggiornata e da vicino Giancarlo Erra e la sua band !

E allora.... seguiteci a partire da oggi, e se avete qualche domanda non dovete fare altro che mandarci una mail a invisible.bane@gmail.com (o seguire il link in alto a destra "contattaci") !

Un caro saluto a tutti !