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title: Just Thoughts
catalogue number RRST002
duration 63 min.
year 1999
price £ 10
studio recording
musicians:
Robin Jones - electric/electroacoustic/synth guitars, percussion and voice
Franc O'Shea - fretless bass
Charlotte Glasson - saxophones and viola
Mellower than the more experimental side of Robin's playing this is a focussed and meditative record, lively throughout and full of joyful energy.
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title: Accidents and coincidences
catalogue number RRST001
duration 72min. CD-R
year 1996/98
price £ 6
improvised studio recording
musicians:
Roberto Battista - electric, fretless, e-bowed guitars (+ toy keyboards)
A disturbingly a-synchronous array of unlikely sound combinations.
Most of the material results from blending various layers of live improvisations and then mixing them with a minimum of post-production.
The material was produced in various stages during 1996/98 and ranges from violent deranged urban noise to meditative open slow motion evolutions.
The music changes in an almost imperceptible way, flowing through different times and places in endless shifting phases.
In this music, just as in real life, accidents and coincidences condition much of what is going to happen next.
Each CD has a unique hand-made cover/packaging by the author.
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title: Very close, very far
catalogue number RRST003
duration 72min. CD-R
year 1998/99
price £ 6
improvised studio recording
musicians:
Roberto Battista - electric, fretless, e-bowed guitars (+ toy keyboards)
The soundtrack underlying contemporary life is a continuum of ever changing layers of assorted sounds and noises.
These sound signals merge seamlessly into each other in continuously shifting waves.
As the sound sources are all around us, some moving as we move, the combinations are infinite and the resulting soundscape unpredictable.
Our ear becomes accustomed to the unlikely marriages of disparate aural emissions. Our brain chooses to ignore and erase some of the sounds and concentrate (listen to?) others.
Still, this body of sounds permeates us and influences our mood and life.
We can exercise our senses to listen to the whole and deconstruct it into its component elements, much as we do with language, or we can decide to drift with it and be surprised by the shores it lands us on.
The natural sound of the world is timeless and its tempo has a beat every new moon. Synchronizing to the tempo of nature, tuning into the rhythm of clouds and waves is healthy but is becoming increasingly difficult. While we try to tune to the slow breathing rhythm of nature we are continuously invaded by the fragmented signals of the manmade environment, by layers of a-synchronous sound emissions.
Yet there is a beauty in these chance encounters, a message hidden between the notes.
The music in "very close, very far" is a point of view, an interpretative documentary where the metropolitan denaturated hysteria surges from the gradual addition of disparate elements, unexpectedly forming melodies, shaping into evolving sequences or dissolving into meditative drones.
The music is all improvised following the dynamics of change and evolution, directly recorded on a computer, with no added post-production.
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