ZERO,999...
Featuring contributions from Ale Hop, Antonina Nowacka, Sara Persico, Valerio Tricoli, Anthony Pateras and Aleksandra Słyż, Italian artist Riccardo La Forresta's latest is made from fragments of live performances and installations he obscured and reshaped with fresher augmentations.
If you copped 2020's 'Drummophone', you'll already know that La Foresta has spent the last few years developing the eponymous instrument, a way to play the drum as a wind instrument with either breath or an electric pump. He resets the clock on 'ZERO,999...', collecting live recordings from the last decade (some made with the drummophone and some without) and using the stems to inspire a new suite of music, either responding to them himself in the studio or inviting collaborators to contribute. It certainly adds a different perspective to the material: Nowacka's operatic cries counterbalance Pateras's brushy percussion and Ale Hop's glassy instrumentation on 'Calco', cracking thru La Foresta's heavy atmosphere, and on 'HOLD', Persico's ASMR vocalizations layer some anxious excitement over La Foresta's bolshy drumwork and Ale Hop's doomy guitars.
Tricoli's tape manipulations help texturize the Radian-like '20230704_102400.jpg', and Polish sound designer Słyż's expertly sculpted drones offset La Foresta's turbulent soundscape on 'Xhakers'. It's bleak, demanding material that's been mixed by Emptyset's James Ginzburg to bring out every minuscule detail - just check the last track 'EyeContact (Nereo's)', where every tuned hit and breathy rattle seems to suggest a new layer of complexity. An electro-acoustic answer to latter-day AE? Maybe.
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Featuring contributions from Ale Hop, Antonina Nowacka, Sara Persico, Valerio Tricoli, Anthony Pateras and Aleksandra Słyż, Italian artist Riccardo La Forresta's latest is made from fragments of live performances and installations he obscured and reshaped with fresher augmentations.
If you copped 2020's 'Drummophone', you'll already know that La Foresta has spent the last few years developing the eponymous instrument, a way to play the drum as a wind instrument with either breath or an electric pump. He resets the clock on 'ZERO,999...', collecting live recordings from the last decade (some made with the drummophone and some without) and using the stems to inspire a new suite of music, either responding to them himself in the studio or inviting collaborators to contribute. It certainly adds a different perspective to the material: Nowacka's operatic cries counterbalance Pateras's brushy percussion and Ale Hop's glassy instrumentation on 'Calco', cracking thru La Foresta's heavy atmosphere, and on 'HOLD', Persico's ASMR vocalizations layer some anxious excitement over La Foresta's bolshy drumwork and Ale Hop's doomy guitars.
Tricoli's tape manipulations help texturize the Radian-like '20230704_102400.jpg', and Polish sound designer Słyż's expertly sculpted drones offset La Foresta's turbulent soundscape on 'Xhakers'. It's bleak, demanding material that's been mixed by Emptyset's James Ginzburg to bring out every minuscule detail - just check the last track 'EyeContact (Nereo's)', where every tuned hit and breathy rattle seems to suggest a new layer of complexity. An electro-acoustic answer to latter-day AE? Maybe.
Featuring contributions from Ale Hop, Antonina Nowacka, Sara Persico, Valerio Tricoli, Anthony Pateras and Aleksandra Słyż, Italian artist Riccardo La Forresta's latest is made from fragments of live performances and installations he obscured and reshaped with fresher augmentations.
If you copped 2020's 'Drummophone', you'll already know that La Foresta has spent the last few years developing the eponymous instrument, a way to play the drum as a wind instrument with either breath or an electric pump. He resets the clock on 'ZERO,999...', collecting live recordings from the last decade (some made with the drummophone and some without) and using the stems to inspire a new suite of music, either responding to them himself in the studio or inviting collaborators to contribute. It certainly adds a different perspective to the material: Nowacka's operatic cries counterbalance Pateras's brushy percussion and Ale Hop's glassy instrumentation on 'Calco', cracking thru La Foresta's heavy atmosphere, and on 'HOLD', Persico's ASMR vocalizations layer some anxious excitement over La Foresta's bolshy drumwork and Ale Hop's doomy guitars.
Tricoli's tape manipulations help texturize the Radian-like '20230704_102400.jpg', and Polish sound designer Słyż's expertly sculpted drones offset La Foresta's turbulent soundscape on 'Xhakers'. It's bleak, demanding material that's been mixed by Emptyset's James Ginzburg to bring out every minuscule detail - just check the last track 'EyeContact (Nereo's)', where every tuned hit and breathy rattle seems to suggest a new layer of complexity. An electro-acoustic answer to latter-day AE? Maybe.
Featuring contributions from Ale Hop, Antonina Nowacka, Sara Persico, Valerio Tricoli, Anthony Pateras and Aleksandra Słyż, Italian artist Riccardo La Forresta's latest is made from fragments of live performances and installations he obscured and reshaped with fresher augmentations.
If you copped 2020's 'Drummophone', you'll already know that La Foresta has spent the last few years developing the eponymous instrument, a way to play the drum as a wind instrument with either breath or an electric pump. He resets the clock on 'ZERO,999...', collecting live recordings from the last decade (some made with the drummophone and some without) and using the stems to inspire a new suite of music, either responding to them himself in the studio or inviting collaborators to contribute. It certainly adds a different perspective to the material: Nowacka's operatic cries counterbalance Pateras's brushy percussion and Ale Hop's glassy instrumentation on 'Calco', cracking thru La Foresta's heavy atmosphere, and on 'HOLD', Persico's ASMR vocalizations layer some anxious excitement over La Foresta's bolshy drumwork and Ale Hop's doomy guitars.
Tricoli's tape manipulations help texturize the Radian-like '20230704_102400.jpg', and Polish sound designer Słyż's expertly sculpted drones offset La Foresta's turbulent soundscape on 'Xhakers'. It's bleak, demanding material that's been mixed by Emptyset's James Ginzburg to bring out every minuscule detail - just check the last track 'EyeContact (Nereo's)', where every tuned hit and breathy rattle seems to suggest a new layer of complexity. An electro-acoustic answer to latter-day AE? Maybe.
Estimated Release Date: 25 April 2025
Please note that shipping dates for pre-orders are estimated and are subject to change
Featuring contributions from Ale Hop, Antonina Nowacka, Sara Persico, Valerio Tricoli, Anthony Pateras and Aleksandra Słyż, Italian artist Riccardo La Forresta's latest is made from fragments of live performances and installations he obscured and reshaped with fresher augmentations.
If you copped 2020's 'Drummophone', you'll already know that La Foresta has spent the last few years developing the eponymous instrument, a way to play the drum as a wind instrument with either breath or an electric pump. He resets the clock on 'ZERO,999...', collecting live recordings from the last decade (some made with the drummophone and some without) and using the stems to inspire a new suite of music, either responding to them himself in the studio or inviting collaborators to contribute. It certainly adds a different perspective to the material: Nowacka's operatic cries counterbalance Pateras's brushy percussion and Ale Hop's glassy instrumentation on 'Calco', cracking thru La Foresta's heavy atmosphere, and on 'HOLD', Persico's ASMR vocalizations layer some anxious excitement over La Foresta's bolshy drumwork and Ale Hop's doomy guitars.
Tricoli's tape manipulations help texturize the Radian-like '20230704_102400.jpg', and Polish sound designer Słyż's expertly sculpted drones offset La Foresta's turbulent soundscape on 'Xhakers'. It's bleak, demanding material that's been mixed by Emptyset's James Ginzburg to bring out every minuscule detail - just check the last track 'EyeContact (Nereo's)', where every tuned hit and breathy rattle seems to suggest a new layer of complexity. An electro-acoustic answer to latter-day AE? Maybe.