lunge now out on pan y rosas

Lunge, a second collaboration with Ken Moore, is now out on the Pan y Rosas netlabel. On our first collaboration, Frequency Drift, Ken played tam-tams. For Lunge, Ken played analogue synthesizers in a live improvised session at Last Resort Studio. Download it for free here. (And be sure to check out some of Ken’s current and archival recordings here.)

Cover art by Ken Moore.

in advance of the release…

In just a few weeks, Cristiano Bocci and I will be releasing our second collaboration, a collection of electroacoustic music and field recordings exploring the audio topography of atopias, or non-places–public spaces we pass through, use and leave behind more or less anonymously. To accompany the release I’ve written an essay that has just been published on Arteidolia. With photographs by Randee Silv.

new from creative sources


New from Creative Sources Records, {the} nature {of things} likes to hide [CS393]. A layered composition by Ernesto Rodrigues (viola) and Guilherme Rodrigues (cello), responding to two foundation tracks by me on prepared bass and granular synthesizer, respectively. As always, Ernesto and Guilherme play sensitively and appositely. (What is it that hides its nature? The double bass, first through preparations and extended technique, and then through granulation.) Get it here.

so what? on an eclipse of images

The Italian music site So What? has a nice review of An Eclipse of Images. My quick English translation:

Two creative minds that in coming together create a free and indefinable flow of electroacoustic twists in constant search of balance. “An Eclipse of Images”, a collaborative work by Massimo Discepoli and Daniel Barbiero and released by Acustronica, is nourished by and grows out of premises and methods large and varied.

The seven tracks on the album are the result of different processes of realization, balanced between structured composition and improvisation, which are able to bring out the technical and artistic talents of the two authors in an ongoing dialogue which sees them alternating in the foreground and often preferring the power of counterpoint to the obvious safety of proceeding in unison. The rich shading derived from Discepoli’s rhythmic evolutions attach to the dreamy textures of Barbiero’s bass (“Autopoiesis”, “An Eclipse Of Images: Gathering In”, “An Eclipse Of Images: Atopos”), and at times emerges insistently and strongly above the lyrical and classical textures designed by the American musician (“The Occulted Measure”, “Under the Stream of Consciousness”). The injection of chiseled synthetic grafts constantly acts as an amalgamation and contributes, through a layering of sound sources, to the creation of a suggestive and visceral ambience that occasionally veers toward a darker and more rarefied atmosphere (“Multiple Horizons”, “Transparency and Its Shadow “).

A collaboration that certainly is successful, and interesting especially for its ability to generate a “hybrid” (as Barbiero calls it in the liner notes) able to escape any attempt to categorize.