In light of the current Covid-19 Pandemic Studio Enisslab headed up by Italian DJ / Producer and Live Act Neel has announced the release of a very special 56 track charity compilation project, fundraising for The Red Cross, who are working extremely hard alongside health services internationally that are feeling the effects of the corona-virus outbreak the most right now. The compilation is available for a limited time via Bandcamp and 100% of the proceeds will be donated to The Red Cross to help the world’s most affected countries in the Covid-19 pandemic.
This special release features over 6 hours of previously unreleased and unheard material, where an all star cast of artists were encouraged to share music that reflects this time we are living in.
Neel, who is one half of live duo Voices From The Lake, and LF58 speaks out on behalf of the initiative, organised in collaboration with improvised live project Circle Of Live, and visual art collective Sbagliato. He explains:
“In this situation we all need to look after each other and this project is a start. I wanted to reach as many people as possible to spread this message, so I started to share the idea personally with lots of artists and the response was amazing. I wanted them to take their time with whichever tools they had available at home to produce some music that reflects this time we are living in, a contribution for this special project and to portray a special message.”
The project’s cover art image brought to you by visual art collective Sbagliato shows pictures of windows of houses and studios taken by the artists themselves: 56 musicians, 56 windows, 56 tracks shape a new place of sharing.
Alessandro Cortini (Nine Inch Nails/How To Destroy Angels) composed the Forse series using a Buchla Music Easel. Forse, meaning ”maybe” In Italian, is a series of 3 double LP releases Cortini recorded for Imprec to release in 2013. ”All pieces were written and performed live on a Buchla Music Easel, in the span of one month. I found that the limited array of modules that the instrument offers sparked my creativity. Most pieces consist of a repeating chord progression, where the real change happens at a spectral/dynamic level, as opposed to the harmonic/chordal one. I believe that the former are just as effective as the latter, in the sense that the sonic presentation (distortion , filtering, wave shaping, etc) are just as expressive as a chord change or chord type, and often reinforce said chord progressions. Of all the years with Nine Inch Nails the period spent writing and recording the instrumental record Ghosts I-IV is probably the one which changed my approach to music making the most. After that record I started getting more into instrumental composition, although I tried to approach it in a different way. While we had a vast array of tools and instruments at our disposal then, I decided to approach my pieces limiting myself to one instrument only, as I found myself being more decisive when faced with a limited creative environment.”
For his last outing on Hospital Productions, Nine Inch Nails collaborator Alessandro Cortini utilized just two pieces of equipment: a Roland MC-202 and a delay pedal. For this follow-up, he’s expanded his toolbox a little, supplementing those hardware pieces with two further machines: a Roland TR-606 and TB-303. Musically, Risveglio inhabits a similar space to its predecessor, with Cortini creating blurry, fluid dreamscapes built around semi-rhythmic loops, distorted chords and fuzzy ambient textures. Listeners may struggle to spot the TB-303 – most often used to create ragged waves of intense electronics – such is the unique way in which Cortini manipulates it. Regardless, the Italian’s post-industrial, half-awake soundscapes are thoroughly mesmerizing.
Most pieces consist of a repeating chord progression, where the real change happens at a spectral/dynamic level, as opposed to the harmonic/chordal one. I believe that the former are just as effective as the latter, in the sense that the sonic presentation (distortion , filtering, wave shaping, etc) are just as expressive as a chord change or chord type, and often reinforce said chord progressions.