Andrea Taeggi
Mycorrhiza
Boomkat Product Review:
Modular adventurer Andrea Taeggi draws parallels between mycelium - mushies - and the nodes of synths linked by webs of wires at Willem Twee Studio in Holland.
Made under the influence of magic mushrooms, ‘Mycorrhiza’ sees the Italian electro-acoustic producer and percussionist embark an always admirable and worthwhile venture (within reason) and relay results that thankfully don’t recall your mate wittering on about blue squirrels or losing their duds in a Maccies. Rather, Taeggi focussed his extra energies supplied by the mischievous mushie gods to twist the knobs and faders of Willem Twee’s well stocked studio into a rhizomatic, networked conversation between the machines that describes the sparking electricity inside his bean with a natural, if abstract, logic and comes to reflect the historic examples of Italian electronic created at Luciano Berio and Bruno Maderna’s Studio di Fonologia RAI in 1950’sMilan - the original inspiration for Willem Twee’s studio set-up.
“In the process of tweaking and feeding electric impulses and sound signals into instruments of the likes of the iconic ARP 2500/2600 and a number of testing/measuring units from the 50/60s—originally not conceived as musical instruments— Taeggi engages into an exchange of nutrients and information, while abruptly sabotaging un-welcome elements, hence accelerating the sound superhighway towards spectral psychedelic tension—a process he seems to be extremely in control of. Taking a step aside from his usual minimal approach to address more complex structures and augmented mind-sets, Mycorrhiza sounds at times like gamelan from the future: a lucid excursion into a form of "ritual-computer-music" with a conspicuous penchant for detail, alluding to a continuity between pseudo-cerimonial and laboratory-like computer music, steering clear from any reference to a specific creed or religion—imagine Stockhausen drinking the Amazonian sacred brew Ayahuasca..
The swarming micro-movements of “Cuttleburrs” multiply in a series of crescendos marked by sudden falls, saturated drums incursions and tense sonic clusters, introducing the more explicit gamelan percussive tones and compositional forms of “Kodama” and “Icaro”. Recorded on the ARP 2500, “Mycorrhiza” uses white noise generators, resonant bass and spring reverb to conjure up a magical fungal diorama, which expands into the spooky shadows of skeletons and demons of “Phantasmagoria” and the spectral mystics of “Oculus Cordis”—the Eye of the Spirit — in which Taeggi grapples with the same sine-wave generators that Stockhausen used in his seminal "Studie I" and "Studie II”.”
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Boomkat Product Review:
Modular adventurer Andrea Taeggi draws parallels between mycelium - mushies - and the nodes of synths linked by webs of wires at Willem Twee Studio in Holland.
Made under the influence of magic mushrooms, ‘Mycorrhiza’ sees the Italian electro-acoustic producer and percussionist embark an always admirable and worthwhile venture (within reason) and relay results that thankfully don’t recall your mate wittering on about blue squirrels or losing their duds in a Maccies. Rather, Taeggi focussed his extra energies supplied by the mischievous mushie gods to twist the knobs and faders of Willem Twee’s well stocked studio into a rhizomatic, networked conversation between the machines that describes the sparking electricity inside his bean with a natural, if abstract, logic and comes to reflect the historic examples of Italian electronic created at Luciano Berio and Bruno Maderna’s Studio di Fonologia RAI in 1950’sMilan - the original inspiration for Willem Twee’s studio set-up.
“In the process of tweaking and feeding electric impulses and sound signals into instruments of the likes of the iconic ARP 2500/2600 and a number of testing/measuring units from the 50/60s—originally not conceived as musical instruments— Taeggi engages into an exchange of nutrients and information, while abruptly sabotaging un-welcome elements, hence accelerating the sound superhighway towards spectral psychedelic tension—a process he seems to be extremely in control of. Taking a step aside from his usual minimal approach to address more complex structures and augmented mind-sets, Mycorrhiza sounds at times like gamelan from the future: a lucid excursion into a form of "ritual-computer-music" with a conspicuous penchant for detail, alluding to a continuity between pseudo-cerimonial and laboratory-like computer music, steering clear from any reference to a specific creed or religion—imagine Stockhausen drinking the Amazonian sacred brew Ayahuasca..
The swarming micro-movements of “Cuttleburrs” multiply in a series of crescendos marked by sudden falls, saturated drums incursions and tense sonic clusters, introducing the more explicit gamelan percussive tones and compositional forms of “Kodama” and “Icaro”. Recorded on the ARP 2500, “Mycorrhiza” uses white noise generators, resonant bass and spring reverb to conjure up a magical fungal diorama, which expands into the spooky shadows of skeletons and demons of “Phantasmagoria” and the spectral mystics of “Oculus Cordis”—the Eye of the Spirit — in which Taeggi grapples with the same sine-wave generators that Stockhausen used in his seminal "Studie I" and "Studie II”.”
Boomkat Product Review:
Modular adventurer Andrea Taeggi draws parallels between mycelium - mushies - and the nodes of synths linked by webs of wires at Willem Twee Studio in Holland.
Made under the influence of magic mushrooms, ‘Mycorrhiza’ sees the Italian electro-acoustic producer and percussionist embark an always admirable and worthwhile venture (within reason) and relay results that thankfully don’t recall your mate wittering on about blue squirrels or losing their duds in a Maccies. Rather, Taeggi focussed his extra energies supplied by the mischievous mushie gods to twist the knobs and faders of Willem Twee’s well stocked studio into a rhizomatic, networked conversation between the machines that describes the sparking electricity inside his bean with a natural, if abstract, logic and comes to reflect the historic examples of Italian electronic created at Luciano Berio and Bruno Maderna’s Studio di Fonologia RAI in 1950’sMilan - the original inspiration for Willem Twee’s studio set-up.
“In the process of tweaking and feeding electric impulses and sound signals into instruments of the likes of the iconic ARP 2500/2600 and a number of testing/measuring units from the 50/60s—originally not conceived as musical instruments— Taeggi engages into an exchange of nutrients and information, while abruptly sabotaging un-welcome elements, hence accelerating the sound superhighway towards spectral psychedelic tension—a process he seems to be extremely in control of. Taking a step aside from his usual minimal approach to address more complex structures and augmented mind-sets, Mycorrhiza sounds at times like gamelan from the future: a lucid excursion into a form of "ritual-computer-music" with a conspicuous penchant for detail, alluding to a continuity between pseudo-cerimonial and laboratory-like computer music, steering clear from any reference to a specific creed or religion—imagine Stockhausen drinking the Amazonian sacred brew Ayahuasca..
The swarming micro-movements of “Cuttleburrs” multiply in a series of crescendos marked by sudden falls, saturated drums incursions and tense sonic clusters, introducing the more explicit gamelan percussive tones and compositional forms of “Kodama” and “Icaro”. Recorded on the ARP 2500, “Mycorrhiza” uses white noise generators, resonant bass and spring reverb to conjure up a magical fungal diorama, which expands into the spooky shadows of skeletons and demons of “Phantasmagoria” and the spectral mystics of “Oculus Cordis”—the Eye of the Spirit — in which Taeggi grapples with the same sine-wave generators that Stockhausen used in his seminal "Studie I" and "Studie II”.”
Boomkat Product Review:
Modular adventurer Andrea Taeggi draws parallels between mycelium - mushies - and the nodes of synths linked by webs of wires at Willem Twee Studio in Holland.
Made under the influence of magic mushrooms, ‘Mycorrhiza’ sees the Italian electro-acoustic producer and percussionist embark an always admirable and worthwhile venture (within reason) and relay results that thankfully don’t recall your mate wittering on about blue squirrels or losing their duds in a Maccies. Rather, Taeggi focussed his extra energies supplied by the mischievous mushie gods to twist the knobs and faders of Willem Twee’s well stocked studio into a rhizomatic, networked conversation between the machines that describes the sparking electricity inside his bean with a natural, if abstract, logic and comes to reflect the historic examples of Italian electronic created at Luciano Berio and Bruno Maderna’s Studio di Fonologia RAI in 1950’sMilan - the original inspiration for Willem Twee’s studio set-up.
“In the process of tweaking and feeding electric impulses and sound signals into instruments of the likes of the iconic ARP 2500/2600 and a number of testing/measuring units from the 50/60s—originally not conceived as musical instruments— Taeggi engages into an exchange of nutrients and information, while abruptly sabotaging un-welcome elements, hence accelerating the sound superhighway towards spectral psychedelic tension—a process he seems to be extremely in control of. Taking a step aside from his usual minimal approach to address more complex structures and augmented mind-sets, Mycorrhiza sounds at times like gamelan from the future: a lucid excursion into a form of "ritual-computer-music" with a conspicuous penchant for detail, alluding to a continuity between pseudo-cerimonial and laboratory-like computer music, steering clear from any reference to a specific creed or religion—imagine Stockhausen drinking the Amazonian sacred brew Ayahuasca..
The swarming micro-movements of “Cuttleburrs” multiply in a series of crescendos marked by sudden falls, saturated drums incursions and tense sonic clusters, introducing the more explicit gamelan percussive tones and compositional forms of “Kodama” and “Icaro”. Recorded on the ARP 2500, “Mycorrhiza” uses white noise generators, resonant bass and spring reverb to conjure up a magical fungal diorama, which expands into the spooky shadows of skeletons and demons of “Phantasmagoria” and the spectral mystics of “Oculus Cordis”—the Eye of the Spirit — in which Taeggi grapples with the same sine-wave generators that Stockhausen used in his seminal "Studie I" and "Studie II”.”
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Boomkat Product Review:
Modular adventurer Andrea Taeggi draws parallels between mycelium - mushies - and the nodes of synths linked by webs of wires at Willem Twee Studio in Holland.
Made under the influence of magic mushrooms, ‘Mycorrhiza’ sees the Italian electro-acoustic producer and percussionist embark an always admirable and worthwhile venture (within reason) and relay results that thankfully don’t recall your mate wittering on about blue squirrels or losing their duds in a Maccies. Rather, Taeggi focussed his extra energies supplied by the mischievous mushie gods to twist the knobs and faders of Willem Twee’s well stocked studio into a rhizomatic, networked conversation between the machines that describes the sparking electricity inside his bean with a natural, if abstract, logic and comes to reflect the historic examples of Italian electronic created at Luciano Berio and Bruno Maderna’s Studio di Fonologia RAI in 1950’sMilan - the original inspiration for Willem Twee’s studio set-up.
“In the process of tweaking and feeding electric impulses and sound signals into instruments of the likes of the iconic ARP 2500/2600 and a number of testing/measuring units from the 50/60s—originally not conceived as musical instruments— Taeggi engages into an exchange of nutrients and information, while abruptly sabotaging un-welcome elements, hence accelerating the sound superhighway towards spectral psychedelic tension—a process he seems to be extremely in control of. Taking a step aside from his usual minimal approach to address more complex structures and augmented mind-sets, Mycorrhiza sounds at times like gamelan from the future: a lucid excursion into a form of "ritual-computer-music" with a conspicuous penchant for detail, alluding to a continuity between pseudo-cerimonial and laboratory-like computer music, steering clear from any reference to a specific creed or religion—imagine Stockhausen drinking the Amazonian sacred brew Ayahuasca..
The swarming micro-movements of “Cuttleburrs” multiply in a series of crescendos marked by sudden falls, saturated drums incursions and tense sonic clusters, introducing the more explicit gamelan percussive tones and compositional forms of “Kodama” and “Icaro”. Recorded on the ARP 2500, “Mycorrhiza” uses white noise generators, resonant bass and spring reverb to conjure up a magical fungal diorama, which expands into the spooky shadows of skeletons and demons of “Phantasmagoria” and the spectral mystics of “Oculus Cordis”—the Eye of the Spirit — in which Taeggi grapples with the same sine-wave generators that Stockhausen used in his seminal "Studie I" and "Studie II”.”
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