__________________________Extracts from some Reviews:
"A post-fordist parade is both inventive and diverse - each of its 11 tracks could be the work of 11 separate
artists. In fact, they're just the one: (etre) is Italian sound artist Salvatore Borrelli. "From the
parallel line before and after me (For Faust)" reminds, of all things, of Max Ernst's The Elephant Celebes,
with its wheezing, anthropomorphic contraption counterpointed by a sprightly, almost military
beackbreat..."(Wire; David Stubbs)
Nell'elaborazione sonora di (etre) il glitch, una granaglia malleabile di elettroni, è un ingrediente, non
determina l'appartenenza ad un genere musicale. Realizzata in tempi non sospetti, nella sua "parata post-
fordiana" (etre) inscena un vaudeville informal-elettronico, idealmente collocabile tra una nu electro scevra
da capricci sonico-infantilistici e, seppur lontani come modello, gli sketches di Okapi(...). L'intreccio tra
acustico "trattato" e digitale, tra parti suonate e campionamenti, alimentano la densità cromatica del disco.
La loro ricomposizione quasi figurativa - oggi si dice acusmatica - fa sì che le idee non rimangano soffocate
in grovigli di suoni casuali. Anche nei momenti più astratti (Naturalist Tokyo) c'è un disegno chiaro che non
esclude l'apporto ricostruttivo dell'ascoltatore, chiamato, nel gioco della fruizione, a risistemare le
tessere sonore, a ricucire connessioni culturali. Disco colto e fumettistico, snodo essenziale nei recenti
processi di re-invenzione di stili ed approcci creativi. (7) (Blow Up; Dionisio Capuano)
The music produced by (etre) is self-described “freefolkglitch,” which seems like a pretty apt description
once the disc starts. The four massive tracks on the album burst with a heavy mix of guitar, random noises
(instrumental and otherwise), and wide array of tape loops. Really, the end result does seem to have the
looseness of free folk accompanied by the electronic clicks, pops, etc. that one would expect from glitch.
(...) Of all the music, the eeriest and most effective piece is “These birds say to me: ‘It’s hard to live!’
(for Vittorio Sereni).” Quite a title and quite a composition. The track begins with mechanical sounding
static, which leads into what I believe is a sample of the safety announcement from an airliner. From here,
the static rises and eventually breaks with the arrival of a light, simple piano line. Next to arrive is a
series of ethereal voice samples. When combined, they seem to function as a strange chorus. This continues
until suddenly the piano line shifts and a new chorus of voices creeps into the music. (...) Really, this
entire album is very easy to enjoy on a variety of levels. Hours could be spent trying to dissect the music
and figuring out the nature and source of each sound. On the other hand, it’s just as satisfying to sit back
and be carried by the music on its twisted journey through sight and sound. (...) I highly recommend acting
quickly to get a glimpse into this unique world. 8/10 (Foxy Digitalis; Matt Blackall)
(...) l'ultimo (etre) preferisce - ma non è regola ferrea - le voci private, cariche di memoria personale, i
suoni capaci di generare ricordi, evocare affetti, persone, -ancora presenti nella vita dell'artista, o non
più a questo mondo: è il caso di quelli utilizzati in Voices stomp flames for requiem times. Il Salvatore
Borrelli degli ultimi due capitoli della trilogia è all'inquieta ricerca di un linguaggio privato - quel
linguaggio che emerge, in frangenti di suono di abbagliante lucidità, dal solito ribollire di detriti in
sottofondo (...). L'unità espressiva minima utilizzata dal napoletano rimane sempre e comunque - sia chiaro -
il glitch, il microsuono, il frammento. La logica compositiva, di natura modulare, quella del cut-up
cosciamente o incosciamente mutuato da Burroughs, inaugurato con Dada: e dunque, l'atomico, il molecolare il
microscopico, ma anche il detrito il rifiuto la scoria lo scarto prelevati da un flusso continuo ed isolati -
spesso con punte di estrema violenza espressiva: si ascoltino gli inequivocabili gemiti di Music for Nobody
and YOU o l'incedere marziale delle contrade allo scorso Palio di Siena di Endstation palindromes - in un
ambiente artificiale a ecosostenibilità zero... (Sentire, ascoltare; Vincenzo Santarcangelo)
(...) dedicated to the artists Angus MacLise and Jackson Pollock, the first, an original drummer who played
in Velvet Underground, percussionist, who collaborated with La Monte Young and Terry Riley, the second, the
founder of the action painting movement. We can find these elements, the rhythms, serial music and free-form
improvisation (though characterized by a well-defined artistic production process), in these sounds, which
are voluntarily discontinuous, between analog and digital, with electric guitars and instruments such as the
Kalimba, the zither, the shruti box, the esraj, with an extensive use of field recordings and max/msp
applications. It's a very intense and varied album, spanning from abstract and minimal electronic glitch to
cuts, voices, strange interruptions and very gloomy and obsessive moments //
(Neural; Aurelio Cianciotta)
Salvatore Borrelli fa sperimentazione col senso iconico di un'arte bizantina deflagrata. Con un'intensità
drammatica e immaginativa rara in questi tempi di stiramenti sonori riduzionisti e/o di accumuli noise sempre
più pandemici. I suoi dischi brillano di ori, sono striati di verde e blu oltremare, marroni e rosso-sangue
su fondali di nero-lucenti. "Voices stomp...", ad esempio, - articolato per brani tematico/nominativi, densi
di field recordings, pastiches elettro-acustici, ramificazioni psichedeliche di matrici-canzone free folk -
non è più definibile come "musica sperimentale", è musica "alterata" (da un overload di segnali mentali) e
tramata ad arabesco cubista. (Blow Up; Dionisio Capuano)
(...)There are two quite successful, 25 minute each tracks on the release. Improvisations on various stringed
instruments such as guitar, lap steel, zither and esraj are processed and blended with found and field
recordings to evocative effect. At one point in ‘Endstation Palindromes (for Angus Maclise)’, an Indian drone
makes way for what sounds like crowd chants at an Italian football match, only for the crowd to be subsumed
by the resurgent drone accompanied by a gang of digital glitches and other crackles, which subtlely merge
into train rattles. This kind of eclectic jumping around keeps the mind occupied, first in identifying the
sounds, then in establishing contexts for those sounds, then in trying to establish connections between them.
You are encouraged to maintain a tight cerebral connection to proceedings, and that is where this release
works best. (...) Overall, it is the jarring juxtapositions of sounds blended seamlessly which are this
release’s greatest achievement. You are constantly transported to a remarkable range of divergent audio (and,
by association, physical) spaces without realising there’s been much of a transition. This constant
disorientation keeps you on your toes, never allowing you to disengage from what you are listening to.
(Cyclic Defrost Magazine; Adrian Elmer)
(...) Oeuvre difficile, elle se veut pourtant comme une musique qui serait l'écho même des relations homme-
femme. Une interprétation qui reflèterait autant la pureté de la chose que sa complexité. Ce n'est pas un
sentiment unique mais bien une multiplicité émotionnelle qui doit être prise en compte. Cela n'a pas échappé
à Salvatore Borelli qui s'est efforcé de jouer sur cet état de fait. La chose n'est évidemment pas facile à
mettre en oeuvre, pas plus que de trouver un compromis acceptable qui puisse permettre de créer un lien entre
les différentes sensations. C'est pour cela que I Can't Take... n'est pas à sens unique et que dans chacune
des deux pièces l'Italien se permet intelligement de prendre des chemins divers. Ces cinquante minutes, que
Salvatore Borelli conseille d'écouter à fort volume tout en étreignant son ou sa partenaire, sont d'une belle
intensité. Certes l'approche est sans doute des plus abstraites mais elle est aussi profondément humaine.
C'est ce qui semble, finalement, être l'essentiel. (Liability Webzine)
(...) And bizarrely enough, for me anyway, each of these tracks is actually redolent of their dedicatees.
Track one, dedicated as it is to MacLise, reminded me very much in parts of the Velvet Underground, with its
use of drone passages, bursts of primitive percussion and apparent shambolic improvisation. Its initial
stuttering start yields to much more prolonged and sustained passages, utilising voice, instrumentation and
percussion, complemented with bursts of treated noise until finally the drone cuts through all to provide a
canvas on which random glitchiness is painted. There is a strangely sacred feel to this, and this is entirely
appropriate given that MacLise himself was of a mystical bent, as towards the end of his life he began
bringing together eastern streams of mysticism (especially since his travels had finally brought him to the
magical kingdom of Nepal) and transcendent music. (...) The structure of the second track is much more of a
slow evolution, from the chaotic to the ordered, which seems to reflect how Pollock’s paintings could be
viewed. Pollock used a random method of painting, dripping the paint onto a canvas affixed to the floor and
then manipulating the medium in a completely random fashion – likewise the piece starts by using random
voices, staggered repetitions, juxtapositions and manipulations. However, given the propensity for the human
brain to reject chaos and to inject order into disorder, the track echoes this quality of the mind by slowly
bringing the element of structure to bear by the gradual introduction of such things as a steady glitch beat,
drones and sounds derived from field recordings. (...) It’s quite a moving piece, and quite a fitting tribute
to one of the most important painters of the twentieth century (Heathen Harvest)
(...) I partenopeismi li trovo in un indubbio caos, sia nell’uso delle voci sia in certe strutturazioni, che
mi fa pensare alla Napoli che disobbedisce alle regole prestabilite (nel bene e nel male), alla Napoli dei
richiami da balcone a balcone ed al suo essere un crocevia nel quale confluiscono traffici e culture; ma li
trovo anche in alcuni sprazzi di delicata poesia che rimandano ad una rimarchevole tradizione artistica e
musicale. Si tratta di un elemento probabilmente impresso nel dna mentale dell’autore e che quindi è
destinato ad emergere spontaneamente ed a caratterizzarne il lavoro.
Accanto a ciò c’è la ricerca intenzionale, quella che ha portato (etre) a edificare il suo suono con l’
utilizzo di strumenti tradizionali (chitarre, piano, violino, armonica…), scampoli, suoni sintetici,
registrazioni varie (di situazioni più che d’ambienti) e quant'altro (...) (Sands-Zine, Mario Biserni)
(etre) zooms in under the general header of experimental and the subhead of glitch but past that it kind of
defies being nailed down. One track might be a burbling sound collage with snippets of vocal recordings
restitched together with a variety of sound pieces. Another track might be a glitch-hound's paradise, a
skittery-jittery hullaballoo of glitching in your ear. Yet another track might be a chilled soundscape with
jazz structures but defiant of traditional music. (...)Regardless, (etre) does a fine job of crafting
experimental gardens of sound and conveying a strange atmosphere of otherness. (Ear-Rational)
La rigenerazione delle produzioni glitch, il superamento dell’autoreferenzialità della manipolazione digitale
del suono legata al concetto di errore/disomogeneità, la ricerca di alternative alla consunzione di un’
estetica convenzionale ed abusata, figlia degli anni novanta. Sono queste le coordinate entro le quali si
muovono una serie di produzioni naturalmente figlie dell’era post-fennesziana, quella inaugurata cioè da una
chimica altra del suono elettronico, legata alla ricerca di sentieri meno scabri, dal sapore armonico.
A Post-Fordist Parade in the Strike of Events è un lavoro radicato in questo scenario neoglitch, corroborato
da una vena erudita e visionaria (...)
Album spiazzante ed ironico, A Post-Fordist Parade in the Strike of Events è l’approdo naturale che porta a
maturazione le intuizioni sviluppate precedentemente nella fase prodromica di ricerca rumoristica dell’
autore.
Altri segnali rassicuranti (e futuribili) nella mappa della sperimentazione elettronica italica. (Nero,
Leandro Pisano)
The acceleration of panic rushing from room to room as you frantically search for the microwave that’s
melting down, the television shooting sparks, the light bulb sizzling its incandescent death knell… that’s
what opens Salvatore Borrelli’s new work as (Etre). A certain strain of Italian audio art seems to
suffer/benefit from a Futurism hangover. It proposes a machine-generative music set in motion then left
unguided by human hands. A language of modem chirps and distorted voices issued from wax cylinders mixed with
errant snatches of radio broadcast and spent mainspring percussion (...) (Exclaim, Eric Hill)
Jeff Wall; Robert Ashley; Guy Debord; Linda Perhacs; Luciano Cilio; Flying saucer attack; Bola Sete,
Antonio Moresco, Carsten Holler; Kai Althoff; Morton Feldman; Mike Kelley; Alain Robbe-Grillet; William
Gaddis; Gabriel Orozco; Jean-Luc Godard; William Kentridge; Andres Serrano; Olivier Assayas; Joel Peter
Witkin; Gregor Schneider; Michel Houellebecq; Luc Tuymans; Sharunas Bartas; Giya Kancheli; John Bock; Faust;
Louis Althusser; Caroline Leaf; Peter Doig; Sono Shion; Olaf Breuning; Stock-Hausen & Walkman; 8-bit
generation; Suehiro Maruo; Raul Vanaigem; Tsai Ming Liang; Mark Ryden; Sarah Kane; Gunter Anders; Hou Hsia
Hsien; Cindy Sherman; Bruce Neuman; Paul Celan; Paul Virilio; Sarah Watt; Pierre Klossowski; Sun city
girls; Lionel Marchetti; Artour Aristakisian; Scratch pet land; Jim Fox; Pedro Costa; Michael Haneke; Teresa
Villaverde; John Fahey; Robbie Basho; Atom Egoyan; Chang-dong Lee; Ferenc Cakò; Anthony Braxton; Joan La
Barbara; Don Cherry; Bill Plympton; Olivia Block; Bruno Dumont; John Currin; Marina Rosenfeld; Maurizio
Cattelan; Koji Yamamura; Ubzub; Nuno Canavarro; Main; Georges Lapassade; Gilles Deleuze; Olaf Nicolai;
Cluster; Jacques Derrida; "Blue" Gene Tyranny; Gilles Deleuze; Kath Bloom; Priit Parn; Incredible String
Band; Current '93; Robert HMark Rotkho; Mike Cooper; Krzysztof Penderecki; Bret Easton Ellis; Flies inside
the sun; Jake & Dinos Chapman; Phill Niblock; Steve Roden; Eliane Radigue; Kaede Mira; White Magic; This
heat; Robert Bresson; Kiyoshi Kurosawa; Luciano Berio; Michel Chion; Rachel Whiteread; William Goyen; Janek
Schaefer; Jean Eustache; Robert Smithson; John Wall; Lucio Fontana; Georges Mathieu; Dennis Cooper; Sun Ra;
Sherwood Anderson; Olafur Eliasson; Pen-Ek Ratanaruang; Todd Solondz; Igor Kovalyov; Tony Conrad;
"Japanese-Pink Movies"; Joao Cesar Monteiro; Artur Aristakisyan; Pat Califia; Bruce Sterling; Felix
Guattari; Albert Ayler; Michael Elmgreen & Ingar Dragset; Flannery O' Connor; Thomas Pynchon; Don DeLillo;
John Cheever; Reiner Werner Fassbinder; Hal Hartley; Vittorio Sereni; Jackson Pollock; Robert Coover; David
Lynch; Philip Roth; Robert Hampson; James Purdy; Andrei Tarkovsky; Anthony Pateras & Robin Fox; Boots Snake
& Remus; Erica Pomerance; James Carr; Mimeo; Serial Experiments Lain; Merzbow; Derek Jarman; Maurice
Blanchot; Santiago Sierra; Laura Owens; Jonathan Hodgson; Miss Murgatroid; Congotronics; Hans Appelqvist;
Masaki Batoh;
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MY new website is: http://harpsfuchsiakalmia.webs.com/
MY new website is: http://harpsfuchsiakalmia.webs.com/
MY new website is: http://harpsfuchsiakalmia.webs.com/
MY new website is: http://harpsfuchsiakalmia.webs.com/
MY new website is: http://harpsfuchsiakalmia.webs.com/
MY new website is: http://harpsfuchsiakalmia.webs.com/
MY new website is: http://harpsfuchsiakalmia.webs.com/
MY new website is: http://harpsfuchsiakalmia.webs.com/
MY new website is: http://harpsfuchsiakalmia.webs.com/
MY new website is: http://harpsfuchsiakalmia.webs.com/
MY new website is: http://harpsfuchsiakalmia.webs.com/
MY new website is: http://harpsfuchsiakalmia.webs.com/
MY new website is: http://harpsfuchsiakalmia.webs.com/
_____________________________________________________________
I'm tired to see on my page announcements and concert fliers of events from another part of the world; inside this there is something of sick.
If you want to comment, or you want to talk with me, I'm avaible for this. I don't accept "adds" from everyone. I accept adds JUST from people interested in my work and in line with my music. Not everyone.
( e t r e ) - Le Desastre. L'Humanité! (Monochrome Block Circuits) (2003; private, 167 copies, FIRST PRINT SOLD OUT
( e t r e ) - Le Desastre. L'Humanité! (Monochrome Block Circuits) (2007 Riz(h)ome Records, 33 numbered copies, SECOND EDITION)
5 copies left.
For your copy go to : http://harpsfuchsiakalmia.webs.co/buymymusic.htm
or contact me to : freefolk@gmail.com
( e t r e ) - Maternage, part-object, contingency, casuality, horrible memories, negation & blind! (2004; ctrl+alt+canc; mp3 edition)
( e t r e ) - ...(Reverse) inFerno. (2005, Sine3pm; MP3 release)
( e t r e ) & Fabio Orsi "L'Apres, l'(A)-dieu (40 mt under)" (private, 66 copies) (3" cd-r; 16 minutes)
the LAST COPY!!!
For your copy go to : http://harpsfuchsiakalmia.webs.co/buymymusic.htm
or contact me to : freefolk@gmail.com
( e t r e ) - A post-fordist parade in the strike of events (2006, CD deluxe digipack on Baskaru)
For your copy go to : http://harpsfuchsiakalmia.webs.co/buymymusic.htm
or contact me to : freefolk@gmail.com
( e t r e ) - Voices stomp flames for requiem times (2007; CD-R on Ruralfaune... SOLD OUT)
( e t r e ) - I can't take my head to see HIGHER because the sky is landing over my neck (2007; CD-R edition; numbered at hand... 200 copies on Riz(h)ome Records)
For your copy go to : http://harpsfuchsiakalmia.webs.co/buymymusic.htm
or contact me to : freefolk@gmail.com
( e t r e ) - Noi lavoriamo nelle tenebre (for Maurice Blanchot) (2009; 3" cd-r on 76 limited copies on Dirty Demos)
For your copy go to : http://harpsfuchsiakalmia.webs.co/buymymusic.htm
or contact me to : freefolk@gmail.com
ciao! grazie per l'invito: molto lieti di conoscere il tuo progetto...apprezzamento reciproco: il tuo lavoro è davvero molto interessante! speriamo di vederti presto live,
" .. to be interested (in Satie) one must be disinterested to begin with, accept that a sound is a sound and a man is a man, give up illusions about ideas of order, expressions of sentiment, and all the rest of our inherited aesthetic claptrap .. "
Online Now!
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