CHINMOKU [Crònica, 2018]

Software: Ableton Live; CsoundQt; Cecilia
Hardware: Oktava MK012 Cardioid Condenser Mic; SoundDevices MixPRE-6

Chinmoku means Silence in Japanese and is a track listed in Panphonia, an album by Vacuamoenia released by Crònica in 2018. It’s a study on the materials present in a Dojo Zen, a place where silence manifests itself as an austere essentiality.
The Hokku beating time for the mantra of the Haramita Shingyo; the Mokugyo establishing the return to the profane time and finally the bells are the main sound events that inspired this composition.
The work is technically the digital treatment of a ritual metal bell closely recorded; the form is that of sound stratifications elaborated in real time and then edited in studio.


Software: Logic ProXCsoundQt; Cecilia
Sources: WebSDR Radio

Over the Horizon is an electronic composition based on sampling, treatment and interaction of multiple sound sources recorded among short-wave frequencies between 2 and 30 MHz. The idea behind the composition is to create a dialogue between technical frequencies (OTHR, R2DBI and CODAR) and broadcasting (BSKSA Holy Quran, Radio Saudi) to investigate the distance from a geographical and cultural point of view. So Ocean Radars and the voice of the Arab Singer serve as imaginary circumference of a center in which is placed the listener, from anywhere in the world he comes from. The materials—recorded by Twente (NL) WebSDR —were treated with CSound through techniques related to the modulations used in the radio (AM) and granulation. The constant rate of the OTHR is the primary component in the broader rhythm of the composition, hence the title.

The composition was presented for the first time at Wave Farm WGXC 90.7-FM: Hands-on Radio Short Waves / Long Distances transmission and transmitted 2017, 05th july during the 14th Sound and Music Computing Conference 2017 at Espoo, Finland.

You can listen the composition at the Wave Farm Repository here.

SCAPE #002 [2010]

electro-acoustics; soundscape

Scape #002 delves into two aspects that were investigated in the first Scape: the first one is the cyclicity of sound-events, indeed every sound happens (and this is probably the difference between a classic composition and a soundscape one) thanks to a slowly used drum machine; the second one is the placement by distance of the sound-textures. In this regard, through the use of piano chords that recall Morton Feldman, I tried to deepen this distance even inside a house that is imaginatively placed far away, on a hill (it’s my dreamy topos to remember a house as a child I always saw a hill above). The hoe that scratches the ground becomes a rhythmic scheme for the whole composition, an analogy with the piano that scratches the silence.

SCAPE #001 [2010]

electro-acoustics; soundscape

Scape #001 is an investigation on Soundscapes Composition  and was presented for the first time at Terra Fertile, 2010 in Sassari, Sardinia. Recordings made in what was soon to become my home have been fragmented and inserted into a drum machine recombining materials at a very slow time. Everything was then filtered to create real or presumed distances.
In 2015 Scape #001 was part of Making Presence Felt, a Fiona Candy installation commissioned by Northampton Museum and Art Gallery (UK)

Making Presence Felt (with stereo 19.01.16) from Fiona Candy on Vimeo.


All the stones of our lives was released with the pseudonym AON under Treetrunk in 2009 and was created, edited and mastered in Solios, a Damanhur community built in Altofonte, Palermo. AON anticipates ten years before Reverberant Evenings, started when I realized that Drone production needed a different subject. ATSOUL is the crossing of two sound-textures produced by the time-stretching of two soundscape recordings (shooted in Solios), the first one non-harmonic and non-periodic, the second one harmonic and, in particular, consonant. Both traces of the release focus on this single process.

MUSIC FOR FLYING PLANES [Essentiamundi, 2008]


Music for flying planes is a 5 pieces composition released by Essentiamundi in 2008. It is a textures sound-work that takes inspiration from some recordings of airplanes in flight made at the beginning of 2007 in Monte Pellegrino, Palermo; in particular I wanted to pay attention to the resonances during their passage through digital resonators and reverberations. It is a release that deepens the concept of Drone Music and it is inspired by the dialogues that at that time I had via email with Gianluigi Gasparetti (Oöphoi), who died in 2013, with whom I talked a lot about airplanes and helicopters in flight, sounds that both we loved.
The photos of the album were taken at the Torino, Italy airport during the journey back from my initiation to the community of Damanhur (community that I left a few years later) and about the names of the tracks, they are a small poetry born at the end of a meditation session in the community.



Instancabile Silenzio (Tireless Silence) is a work that defines a Choice: to work on the border with Silence. This is not just a philosophical statement, a generic aura that focused the composition on absence, but also a practical one: the search for the right volume, not completely considering the idea of Loudness; the rarefaction of materials; the loss of paternity through the introduction of initial data into a software generating organization that takes on a life of its own until it is dissolved.
The work was broadcasted, and still is, in Sleepbot radio – even this project created, initially managed and then left to its course by Dan Foley.



Ghiaccio (Ice) was created after having discovered Sleepbot Radio that broadcasted ambient/drone/isolationist music with the purpose to make people fall asleep. There I discovered Oöphoi – with whom I had an interesting exchange at that time and I will always remember him – and the sound textures world.
Ghiaccio is the experiment (also in formal terms) that anticipates Instancabile Silenzio. Each sound material of the composition originates from the previous one, through a particular loop machine that manages the repetitions, the spectrographic materials and the file speed with particular envelopes. The loop machine I used was created with MaxMSP and then I called it Kaleidoscope in 2011.



Rivelazione di Cristallo (Crystal Revelation) was composed more or less in the same period of Bethsaid, while I was beginning to experiment with numerical signal processing softwares and codes (in particular CSound). What I always have in mind is to create processes not compositions and sometimes something comes to life on its own. This is the case.

BETHSAID – Studio sulla Rarefazione [2005]


Bethsaid is the first composition of digital music I made and it was presented for admission to the course of Electronic Music in Palermo Conservatory on September 20th, 2005. Bethsaid was a term used in Egyptian/Essene therapy to describe the place where Therapy took place and it is dedicated to Paolo and Silvia, two Masters who introduced me to this philosophy at that time.
Bethsaid should not have been this way. After a voltage drop, everything I had done on the computer on reboot was digitally shuffled a few days before the exam. Incredibly it was much better than before! The final version is a manipulation of these errors.

Bethsaid in 2011 was the soundtrack of the beautiful work of Paolo Minioni Gleis 17 Berlin Grunewald presented on January 27th, 2011 at ABF | Scatola Chiara. Piccola Galleria per la Fotografia Storica (Torino, Italy)

Gleis17 Berlin Grunewald from Paolo Minioni on Vimeo.