|Name:Roberto Maldoror Manfredini|
|Genre: acousmatic, tape music, healing & easylistening, concrete|
|Location: Milan (Milano), Italy|
|Bio:||The instrument I can play at the best is tape.
From 2000 to 2005 I used to play everyday with recording tape and mix, cut,
sampling in a very rough way. I think I was reasoning with Deleuzian categories
of "coexistence" (on vertical plane) and "succession"
(on horizontal plane). In the last two years I digitalized every sound I
produced (I created my instruments too, inspired by futurist Luigi Russolo
and his series of "Intonarumori". One of the most interesting
is the "Chaosmotic Machine", now destroyed because of my nihilism).
I didn't digitalized my songs: instead I have recorded it over again, starting by the sounds. My hypothesis is that in the digital sampling there is more than two categories: I can suppose the existence of a third category, "consistence" (which is on a diagonal line, not on a plane).
At least, my stile is futuristic with some concessions on dada & noise composition. My time is rooted in 1913, the year of "The Art of Noises" by Luigi Russolo.
My expectation divided by genre:
- Chiptune: produce schizoid music for a game that doesn't exist, inspired by the great George Alistair Sanger.
- Tribal: mix ethnic and trance voodoo drumming with brain waves to manipulate your conscience.
- Harsh Noise: conjugate this genre with psych & pop & glitch suggestions.
- Illbient: create an ignorant combination of situationism and scratching like the last five second on the curling sheet.
- Glitch: convert my archive of broken-down digitalization in good melodies.
- Rock'n'Roll: bring peace to the world on my imaginary Gilera.