Roberto Begini (co-founder and member of the electronic music project Kolmitt) is an Italian sound artist and electronic music composer that we introduced two years ago with Agosto 14 (Oak Editions). Eidos is the new album that is out now via Avellino-based label manyfeetunderconcrete (and mastered by Lawrence English). We have the pleasure to premiere the second part of “The Path“, his mixtape series: it is the mirror of personal reflection and musical research about temporality.

Tracklist:

Taylor Deupree – Sea Last
Robert Henke – Infinite Sands
Giusto Pio – Motore Immobile
Fennesz – On A Desolate Shore A Shadow Passes By
La Monte Young / Marian Zazeela – 31 VII 69 10:26 – 10:49 PM (“The Black Album”)
Midori Takada – Crossing
Bernard Parmegiani – De Natura Sonorum (samples from)
Lino Capra Vaccina – Ondulazione Melodica
Autechre – Paralel Suns
Pan Sonic – Linjat / Lines
Oren Ambarchi – Quixotism Part 5

Terry Riley – Descending Moonshine Dervishes

Listen below and read out talk with the italian artist.

Let’s start with “The Path”. What about it?

The Path is a listening journey, it’s a tendency that my personal research is taking.

I started to discover a certain kind of temporality in the music that I listened, despite the very different genres. I might define this temporality “dilated” or “circular”: a really different one from the linear time typical of the tonal music (for example in the basic form of beginning-climax-ending). The circular time, also called “vertical”, it’s present in almost all music focused on the timbre and on the concrete sound, but also it’s present in a lot of ancient and ethnic music: for example the modal music, in many different cultures and historical periods.  The Path is a musical flow, divided into parts, and presented as a series of podcasts. It is a mix that embraces many styles, in this common ground of dilated time.


What is your idea of experimentation and research in music?

It’s a complex question. First of all, there is the use of technology, it is an imperative in music today. I must say that technology is a mean, the “tool” in a really common and original meaning, but behind this tool there should be ideas. In music I would speak of aesthetic, i.e. the research of a particular sound, or a certain form: a personal one first of all. I believe that to find something really personal, we can only be innovative in the sense of unique. For me research just means that, be as close as possible to a personal aesthetic.


“Eidos” is your latest album. What about the idea and development of this work?

It’s not a really experimental work, it is an ambient / drone album where I did not try something new, but something personal (as I said before). It was written twice: I had a first version, but I wasn’t satisfied about it. So I decided to restart from the beginning and I re-played all the parts, improvising. I’ve got a new album, in a really natural way and quite fast.

It seemed like I had a certain form in my head, something well defined, and not explicable in a conscious way. That’s why I called it “Eidos”, that mean “form” in greek, with a related extensive phylosophical meaning.

What are the best releases you appreciated this year?

I followed Room40 a lot, really beautiful “Memory Fragments” by Warnecke and the new album by Chantler. Certainly Edition Mego, really good the last works by Ambarchi. Then Love Streams by Tim Hecker, is a really strange record, I do not know yet whether I like it or not, but it is certainly something innovative and bizarre, and it has definitely surprised me. I would add also the last from Border Community (Holden & Tirado), which reminds me of Terry Riley, very pleasant. Then, some words about the italian music scene: Manyfeetunder is releasing out some really good things, see “Zolfo” by Vitolo and Favaron, a truly high-level work.