Rosario Di Rosa is an Italian avant-garde musician and composer. A few months after Un cielo pieno di nuvole EP, he released a new album. Crossroad Blues is out now via Deep Voice Records. It was composed and released with Basic Phonetics enesmble (Sarah Stride, Carlo Nicita, Alberto N.A. Turra and Davide Bussoleni). Nine tracks which shows electronic earthquake melting with jazz textures and avant-garde approach. After the full streaming, he explains the new work track by track. Check it below.
Perfect cadence. A guitar chord that explode in a thousand trickles of overdrive. Then a relentless electronic darkness, moving from side to side, just as thousands of humming voices have begun to emerge. It’s a sound agglomeration that appears to be dissipating into a single sound, the piano. It’s a top view, like when you see certain cities from a plane at night: you can’t tell the outlines, just spits of light running around.
Symptom Checklist 90 Revised
SCL-90-R is a self-evaluation survey developed for the purpose of providing a standardized measurment of the current psychological and/or psychopathological status of an individual. In a less poetic way, can be expressed as acceptance for who you are. It’s the most rock song of the album. There’s no place to hide, not even for a Gesualdo’s madrigal that bursts in crooked at 4:33.
Electronics and drums duo. Vocal sounds become a visionary choir entering into dialogue with rhythm. Phonetic sounds speaking without using an existing language. Continuing to come up with new things. Telling something has never been this hard.
Beck Depression Inventory
Every mind’s crossroad inevitably carries with it memories. This track is a container. Specially for the ones you keep bringing with you around, that never leave you. Lyrics are very 30s old blues-like, made of dust and old slide guitars. Their meaning and pain are the same.
32 modules (made of 2-3 cues) that each musician can repeat as he pleases. A sort of generative music that creates random and unforeseen counterpoints. In the meantime electronics interacts playing the same modules in reverse, descending from the 32nd to the 1st, resulting in a continuous overlap of sonic plains and world. I think it’s one of the most important tracks of the album, the one where the rationality of the original intentions becomes improvised creativity.
Un Cielo Pieno Di Nuvole
What it was once the title of a solely electronic EP published in 2017, becomes now a fully acoustic piece for voice, piano and bass flute. Everything is stripped down, underpinned by a fine balance and seemingly dissonant chords. Lyrics are loosely inspired by a Syd Barrett interview, and wants to be an antidote to the first impressions
Karnofsky Performance Status
The entire composition is made of a 12 sounds sequence initially played in unison and then at increasingly intervals distances, like a sort of ramifications that grows ever wider. It’s my musical interpretation of dr. Karnofsky’s 1949 scale, that attempts to outline “life quality” scientifically. I always loved paradox.
This is another auto-generative electronically-produced composition, created by altering ambience effects parameters of a piano loop. The idea was to make a sonic surface that could expand autonomously in a time frame, leading to a climax. The idea was to create a sound surface that would expand autonomously over a period of time until a climax was reached. Continuing to come up with new things. Telling something has never been this easy.
Post Traumatic Grow Index / Dusk
Flawed cadence. Final track from “Crossroad Blues” is a medley of a composition I made and “Dusk” by Andrew Hill. Melodic lines, sometimes so similar, sometimes dissonant, become one melancholic simple and straight melody. So clear that holding her would be like holding moonshine. It’s Gadda’s dawn that “lists the mulberries in the solitude of the appearing countryside”.