#davide cedolin

[dustedmagazine]

Davide Cedolin — Ligurian Pastoral (Island House)

Ligurian Pastoral by Davide Cedolin

Liguria, in Italy, is where the boot might meet the top of the thigh, a mountainous region in which rocky cliffs jut out of the sea and tourists hike from fishing village to fishing village along the Cinque Terre. It’s not exactly unpopulated — the largest city is Genoa — but there are lots of parks and natural areas, and it is there in these wilder places that guitarist Davide Cedolin finds inspiration.

This cassette release collects seven serene and unruffled meditations, mostly in finger picked acoustic guitar, but augmented sometimes with threads of bowed bass, lap steel and harmonica. Natural sounds, like a thunderstorm and bird noises, move in and out of these pieces, which are, themselves, natural and unpretentious. You can imagine the guitarist working them out in some sunny spot, perhaps picking up stakes and running inside when the weather turns and its starts to rain.

“Ca de Cavo” is especially lovely, its eddying cascades of finger picking shot through with bending, shifting tones of lap steel (that’s Mike Horn from Seawind of Battery sitting in). These compositions are not overly concerned with melody or song structure. They unspool in repeated patterns with few signposts indicating beginning, middle or end. They open out into a kind of wide-horizoned dreaminess, an infinity pool of sound that stretches as far as you can see.

Cedolin’s Instagram tells us that he’s been learning from Daniel Bachman, another skilled finger-picker whose compositions stretch to incorporate the living world. He is, at least so far, more tethered to the sound of his instrument; field recordings nest in the crevices of his songs, rather than taking them over. In “Lische Alte,” for instance, the rumble of wind slips between pensive guitar chords, the arc of lap steel (Horn again) tracing a throughline in the lyric jangle.

Ligurian Pastoral exists in its own time and space. It’s in no hurry to get to the end of its placid compositions, nor, after a while, is the listener. But it does take some adjustment, some slowing, some calming, some willingness to sit with this music, to get to its pleasures. Put it on with the sun streaming in and the whole afternoon idling in front of you. It will unfold like a flower.

Jennifer Kelly

[princesssarisa]

Opera on YouTube 6

Pagliacci

Franco Enriques studio film, 1954 (Franco Corelli, Mafalda Micheluzzi, Tito Gobbi; conducted by Alfredo Simonetto; no subtitles)

Tokyo Bunka Kaikan, 1961 (Mario del Monaco, Gabriella Tucci, Aldo Protti; conducted by Giuseppe Morelli; Japanese subtitles)

Herbert von Karajan studio film, 1968 (Jon Vickers, Raina Kabaivanska, Peter Glossop; conducted by Herbert von Karajan; no subtitles)

Franco Zeffirelli film, 1983 (Plácido Domingo, Teresa Stratas, Juan Pons; conducted by Georges Prêtre; English subtitles) – Part I, Part II, Part III, Part IV, Part V, Part VI

Metropolitan Opera, 1994 (Luciano Pavarotti, Teresa Stratas, Juan Pons; conducted by James Levine; Spanish subtitles)

Ravena Festival, 1998 (Plácido Domingo, Svetla Vassileva, Juan Pons; conducted by Riccardo Muti; Italian subtitles)

Zürich Opera House, 2009 (José Cura, Fiorenza Cedolins, Carlo Guelfi; conducted by Stefano Ranzani; no subtitles)

Chorégies d'Orange, 2009 (Roberto Alagna, Inva Mula, Seng-Hyoun Ko; conducted by Georges Prêtre; French subtitles)

Gran Teatre del Liceu, 2011 (Marcello Giordani, Angeles Blancas, Vittorio Vitelli; conducted by Daniele Callegari; English subtitles – ignore the silly references to Norse mythology and aliens that the translator threw in, they're not in the actual libretto)

Latvian National Opera, 2019 (Sergei Polyakov, Tatiana Trenogina, Vladislav Sulimsky; conducted by Jānis Liepiņš; no subtitles)

Die Entführung aus dem Serail

Dresden State Opera, 1977 (Armin Ude, Carolyn Smith-Meyer, Barbara Sternberer, Rolf Tomaszewski; conducted by Peter Gülke; no subtitles)

Bavarian State Opera, 1980 (Francisco Araiza, Edita Gruberova, Reri Grist, Martti Talvela; conducted by Karl Böhm; English subtitles)

Royal Opera House, Covent Garden, 1988 (Deon van der Walt, Inga Nielson, Lillian Watson, Kurt Moll; conducted by Georg Solti; English subtitles)

Salzburg Festival, 1989 (Deon van der Walt, Inga Nielson, Lillian Watson, Kurt Rydl; conducted by Horst Stein; no subtitles)

Théâtre du Châtelet, 1991 (Stanford Olsen, Luba Orgonasova, Cyndia Sieden, Cornelius Hauptmann; conducted by John Eliot Gardiner; French subtitles)

Vienna State Opera, 1989 (Kurt Streit, Aga Winska, Elzbieta Szmytka, Artur Korn; conducted by Nicolaus Harnoncourt; Hungarian subtitles) – Act I, Act II

Teatro della Pergola, 2002 (Rainer Trost, Eva Mei, Patrizia Ciofi, Kurt Rydl; conducted by Zubin Mehta; Spanish subtitles)

Gran Teatre del Liceu, 2012 (Christoph Strehl, Diana Damrau, Olga Peretyatko, Franz-Josef Selig; conducted by Ivor Bolton; Catalan subtitles)

Bankhead Theatre, 2018 (David Walton, Alexandra Batsios, Elena Galvan, Kevin Langan; conducted by Alex Katsman; English subtitles)

Theatro São Pedro, 2023 (Daniel Umbelino, Ludmilla Bauerfeldt, Ana Carolina Coutinho, Luiz-Ottavio Faria; conducted by Cláudio Cruz; Brazilian Portuguese subtitles)

Un Ballo in Maschera

Tokyo Bunka Kaikan, 1967 (Carlo Bergonzi, Antonietta Stella, Mario Zanassi; conducted by Oliviero di Fabritiis; Spanish subtitles)

Royal Opera House, Covent Garden, 1975 (Plácido Domingo, Katia Ricciarelli, Piero Cappuccilli; conducted by Claudio Abbado, English subtitles)

Teatro alla Scala, 1978 (Luciano Pavarotti, Mara Zampieri, Piero Cappuccilli; conducted by Claudio Abbado; Italian subtitles)

Metropolitan Opera, 1980 (Luciano Pavarotti, Katia Ricciarelli, Louis Quilico; conducted by Giuseppe Patané; no subtitles)

Royal Swedish Opera, 1986 (Nicolai Gedda, Siv Wennberg, Carl Johan Falkman; conducted by Eri Klas; sung in Swedish; Swedish subtitles)

Salzburg Festival, 1990 (Plácido Domingo, Josephine Barstow, Leo Nucci; conducted by Georg Solti; Spanish subtitles)

Leipzig Opera House, 2006 (Massimiliano Pisapia, Chiara Taigi, Franco Vassallo; conducted by Riccardo Chailly; English subtitles) – Part I, Part II

Teatro Regio di Torino, 2012 (Gregory Kunde, Oksana Dyka, Gabriele Viviani; conducted by Renato Palumbo; no subtitles) – Part I, Part II

Chorégies d'Orange, 2013 (Ramón Vargas, Kristin Lewis, Lucio Gallo; conducted by Alain Altinoglu; French subtitles)

Arena di Verona, 2014 (Francesco Meli, Hui He, Luca Salsi; conducted by Andrea Battistoni; no subtitles)

Cavalleria Rusticana

Giorgio Strehler studio film, 1968 (Gianfranco Cecchele, Fiorenza Cossotto; conducted by Herbert von Karajan; no subtitles)

Metropolitan Opera, 1974 (Franco Tagliavini, Grace Bumbry; conducted by John Nelson; no subtitles)

Franco Zeffirelli film, 1983 (Plácido Domingo, Elena Obraztsova; conducted by Georges Prêtre; no subtitles)

Ravenna Festival, 1996 (José Cura, Waltraud Meier; conducted by Riccardo Muti; Italian subtitles)

Ópera de Bellas Artes, 2008 (Alfredo Portilla, Violeta Dávalos; conducted by Marco Zambelli; Spanish subtitles)

Zürich Opera, 2009 (José Cura, Paoletta Marrocu; conducted by Stefano Ranzani; no subtitles)

Chorégies d'Orange, 2009 (Roberto Alagna, Beatrice Uria-Monzon; conducted by Georges Prêtre; French subtitles)

Gran Teatre del Liceu, 2011 (Marcello Giordani, Ildiko Komlosi; conducted by Daniele Gallegari; Spanish subtitles)

Mikhailovsky Theatre, St. Petersburg, 2012 (Fyodor Ataskevich, Iréne Theorin; conducted by Daniele Rustioni; English subtitles)

Vienna State Opera, 2019 (Younghoon Lee, Elina Garanča; conducted by Graeme Jenkins; English subtitles)

[zerosocksgiven]

Tag game

rules: list ten songs you’re currently obsessed with and tag ten people to do the same

I got tagged by @hagebutt​ who thought I won’t do this. Well, guess again 😄 (TBH the only reason I’m doing this is because I’m supposed to be doing something else and I’m procrastinating xD)

Yellow Elevator #2 (The Black Angels)

Come Together (The Beatles)

The Boxer (Simon & Garfunkel)

Faith (George Michael)

Hole In The Ground (Bernard Cribbins)

Kicks (Barns Courtney)

Orsui Tosca Parlate (aria from Tosca - I love especially the version with Andrea Bocelli and Fiorenza Cedolins)

Sweet Dreams (Señor Coconut and his Orchestra)

Under Pressure (Queen & David Bowie)

You're Mine (The Black Angels)

Well, since the people I know from around here here had already done this, I hope somebody picks this up... (If you do, please let me know 😊)

[retegenova]

VENERDÌ 2 LUGLIO AL MERCATO DEI PESCATORI DELLA DARSENA IL DJ SET DAL VIVO DI DAVIDE CEDOLIN IN “FISH&DJS”

VENERDÌ 2 LUGLIO AL MERCATO DEI PESCATORI DELLA DARSENA IL DJ SET DAL VIVO DI DAVIDE CEDOLIN IN “FISH&DJS”

VENERDÌ 2 LUGLIO AL MERCATO DEI PESCATORI DELLA DARSENA IL DJ SET DAL VIVO DI DAVIDE CEDOLIN IN “FISH&DJS” Tra musica elettronica live e pescato del giorno prosegue la rassegna targata Electropark, in programma per tutti i venerdì di luglio e settembre. Alle 21 la proiezione su maxi schermo di quarti dei finale di Euro2020 Italia-Belgio   Genova – Sonorità post-globali e sapori del territorio,…

[cmpstr]

Il biglietto da visita di questo nuovo collettivo è il nuovo brano – video di Mangoweeda. Abbiamo chiesto all’artista di descrivercelo

Mangoweeda – Chuyến Đi Astral

[dustedmagazine]

Listed: Davide Cedolin

Davide Cedolin is a Ligurian based artist, mostly focused nowadays on guitar-oriented music, writing and painting. His latest cassette on the Island House label collects seven serene and unruffled meditations, mostly in finger picked acoustic guitar, but augmented sometimes with threads of bowed bass, lap steel and harmonica. In her review, Jennifer Kelly wrote that these compositions “open out into a kind of wide-horizoned dreaminess, an infinity pool of sound that stretches as far as you can see. Here Cedolin lists some guitar music that inspires him. 

I wrote something about albums that somehow “clicked me” because of their great guitar works. Hope you’ll enjoy!

Sonic Youth — A Thousand Leaves (Geffen, 1998)

Maybe I could pick other albums from Sonic Youth, but this is the first one I discovered in real time when I was sixteen, bought on vinyl in a great record store named Distorsioni in Varazze (the town I’ve grown up in) that is closed now. I love this album from them for the natural blend of poppy refrains and very noisy rock elements, the mood, the track list. In my opinion it’s the most textured and rich record from SY, very open and experimental in its own way. And the first of the four times I’ve seen Sonic Youth live, it was in the period of A Thousand Leaves, so I feel very sensitive with this record. One track? “Sunday.” In general, it’s thanks to Lee Ranaldo and Thurston Moore that I heard for the first time about alternative tunings.

Pelt — Ayahuasca (VHF, 2001)

I took some time to “digest” the depth and the density of this one. It’s the record that introduced to me (in a very funny way, ha ha) to old time music and somehow to a different way to intend acoustic music and so guitar. I’ve also been captured by the contemplative and psychedelic aura of the whole album that later switched me on drone music as well. There’s not that much about Pelt live on YouTube from those years, but I’ve found an intense video that is really immersive. With Jack Rose, who already implemented the sound of the band with a more prominent acoustic guitar work, the transition from an electric-noise-drone skin to a new acoustic-mantra-folk structured one was completed. I’m still impressed about how borders in music are so vague and relative if there’s a real consciousness of what you are doing. And Pelt’s transition is the perfect case of the natural and organic evolution of a sound.

Grateful Dead — Workingman’s Dead (Warner, 1970)

In Europe the Dead didn’t have the same wide cultural echo as in North America. Everyone here knows The Doors, Bob Dylan or Neil Young but not as many people as in the States know the Grateful Dead. I heard of Workingman’s Dead at the end of the nineties but it took until my mid-twenties before I got interested in old records. I fell in love with the warm sound of this album, which actually has one of the most brilliant track lists ever to me. Each song is an amazing hit. There’s great guitar work all over the record from both Weir and Garcia, and it’s easy to understand why the sound of this album (and with the extension on the next, American Beauty,) has been intended to be the Americana sound by several music critics and producers. The way all the traditional country, blues and folk elements melt together is so natural and the way the guitars talk to each other is masterful. Also, I’m a huge fan of Jerry on pedal steel and in this record, there are a few of the best moments in his entire career playing that.

John Fahey — Blind Joe Death (Takoma, 1959)

I had a very nice chat with Jeff Tobias a few days ago inspired by a meme about American Primitive Guitar that at some point was ironically counterposing John Fahey lovers and haters. I totally see there’s this polarization about him, and I kind of get it. I did read How Bluegrass Destroyed My Life, watched interviews, and in my perception, his persona was seemingly contradictory and questionable on several aspects. But the guitar work itself, unquestionably, places him in a very relevant position if we think on what he triggered and how damn good he was. This album is the one I love the most and the one with which I've discovered him. I wouldn't consider Fahey as a direct and conscious influence for me but his taste for melodies and his tricks buzz in my head since the first time I heard them. Particularly “St. Louis Blues.”

Jack Rose — Kensington Blues (VHF, 2005)

Frankly, I didn’t listened to this album immediately. It took a couple of years before I knew of it thanks to a great musician from Genova and close fellow Paolo Tortora. It was some winter evening at his place, and I remember we listened to the entire record in silence, sipping rum. It warmed my intimate part, kind of healed me. And it wasn’t the rum, it was the way Jack Rose was able to convert remote feelings into some wild stream of consciousness, that to me still is, without forgoing the obvious technical skills, the best part of his playing. The way he was heartly connecting with the instrument and how he was truly one with the instrument. In this video of “Cross the North Fork,” you can see what I’m talking about.

Ryley Walker — Primerose Green (Tompkins Square, 2015)

Ryley is a terrific guitar player with a terrific voice. He’s simply perfect; when he plays and sings he has a unique voice. I love the sensitivity of his playing, his anarcho-prog-impro wilderness and his accuracy for harmonies and arrangements. This album is perhaps less eclectic compared to the recent ones but it has some of my prefered tracks from him, including this one.

Elizabeth Cotten — Folksongs and Instrumentals with Guitar (Folkways Records, 1958)

Same friend, another great suggestion. Paolo introduced me to Libba by sending this video link for “Freight Train,” probably around 2009. I was touched by her uniqueness. She basically built her own grammar to express her own language with such a graceful manner. This album is the first I bought by her on Discogs a few years ago, and its pure magic all over the length. I could spin this record on loop for days without either changing the side, whichever it is.

Hobart Smith — In Sacred Trust: The 1963 Fleming Brown Tapes (Smithsonian Folkways, 2005)

I was exploring YouTube videos of Elizabeth Cotten and I came across “Railroad Bill” with Hobart Smith on guitar. There’s an ocean of incredibly talented musicians out there, and the more I go further with this list, the more pop up in my mind. But just a very few can transport somewhere else in just a couple of seconds. His personal and fluid style of fingerpicking immediately caught me. Hobart was a master at banjo, guitar, fiddle and piano. In Sacred Trust: The 1963 Fleming Brown Tapes is an album of never-before-released work, taped by Fleming Brown back in the day. It’s a wonderful collection of hidden gems. My son who is eighteen months old already loves this CD.

Steve Gunn — Time Off (Paradise Of Bachelors, 2013)

Steve Gunn in 2013 was a name I’d already heard of, but it’s with this album that I got more deeper into his stuff. I’m a big fan of this period. Acoustic guitars were leading both the emotional and the structured parts of the tracks. His repetitive and hypnotic patterns mesmerized me. I love the “loop feeling” you can perceive sometimes, and I even love it more when you realize that it wasn’t a loop but a block with so many details that change around the main riff which keeps circularly going. There’s a lot of stuff from Gunn on YouTube, and this take of “Trailways Ramble,” from Live at Atlantic Sound Studios, (there are also more videos from this session) kills it. Played with a beautiful twelve string Guild in trio with Justin Tripp on bass and John Truscinski on drums, if you scan your body while listening, you can feel the rise of the theme through the flesh, in a similar way of feeling subtle sensations by the body scan during meditation practices.

Daniel Bachman — The Morning Star” (Three Lobed Recordings, 2018)

I met Daniel for the first time in 2013, so I should even name Jesus I’m A Sinner, the one I knew at first. But The Morning Star is the album that showed me other aspects of his art. This is the first recording from him where guitars slightly shift aside to give more space to the various ambient sounds and other instruments. I love how the guitar is relatively “simpler” even in the patterns somehow. It’s pensive, moody, capable to take your hand and guide you through the album; there’s an interesting sound research that matches also with the “invented” tunings. It’s brilliant how just the tuning of the instrument can influence the whole composition process. And, besides the artist that I admire and love so much, there’s even the man that is completely adorable. It’s nice to know that artists you like are sometimes great living beings as well. This set is completely acoustic. Each time I watch it, I feel as astonished by the wall of sound as the first listen.

Bola Sete — Ocean (Takoma, 1975)

This is the only nylon strings player I’ve mentioned in this list. Bola Sete was a Brazilian guitarist, mostly involved in traditional Bossa nova and samba in the early days. At some point in the 1970s, he met and eventually became friend with John Fahey and moved to the USA. In 1975 Takoma released Ocean, later repressed as Ocean Memories, which is an extraordinary journey through Brazilian folk music and the American Primitive Guitar. This album condenses his virtuoso style and his wild stream of playing at its best, opening worlds of suggestions with its wavy and sensitive flow that colors the album as a canvas.

Yasmin Williams — Urban Driftwood (Spinster, 2021)

This record has been rooting in my listening since it came out. I knew the previous album from Yasmin Williams but with this I got really into her work. There’s a beautiful virtuoso approach that melts into a world of tenderness; a sensitive style of playing that is both technical and emotional, alternating various methods and instruments such as acoustic guitar, harp guitar and kalimba. She’s graceful, making intricate compositions by apparent effortless gestures and moves. This piece is also inspired by the Black Lives Matter movement. Really looking forward to what will come next. I love this absolutely gorgeous video of “Juvenescence” from the New York Guitar Festival sessions.

Ledward Kaapana and Friends — Waltz Of The Wind (Dancing Cat Records, 1998)

This guy simply blew my mind. I’ve been recently introduced to Ledward Kaapana and Hawaiian slack key guitar by Daniel. He’s been doing his thing since the 1970s at least; he has a very nurtured YouTube channel from where you can also find classes! His style is unique, and he has a terrific feel for the rhythmic parts. He’s got this joyful mood that brightens the melody patterns and generally rubs off on the atmosphere. The song “Radio Hula” is probably his most popular hit and there’s this version of it on his channel that is so cool.

Daniel Bachman — Almanac Behind (Three Lobed Recordings, 2022)

Here I am with the last release from Daniel Bachman, who I already named. This album/film is something that elevates Daniel’s work on another peak. In my opinion, this is the most authentic and touching contemporary political and artistic statement of the last years. There’s an explicit vision of what the climate catastrophe is and how we already crossed the safety guard. This concept resonates in the folds of the sound, sculpting it with new elements such the digital post process (cut-and-pasted slide guitar, pitch drops, glitches), AM and FM radio and a horizontal view of the mix, which knocks you to the couch with ease. There’s something in this album that goes even far beyond music and arts. It’s a hub.

[retegenova]

VENERDÌ 17 MAGGIO 2019 PROSEGUE “FISH & DJS” CON LES GIANTS, SOULFINGERS E ALESSIO GLISENTI

Dopo il successo dell’esordo di venerdì 3 maggio, pescatori e dj tornano insieme al Mercato dei pescatori della Darsena per promuovere il territorio genovese attraverso la musica elettronica. Ingresso gratuito

Genova – Tonalità ambient, fritture di pesce, suoni groove e house music per la valorizzazione del territorio genovese. Dopo il successo dell’esordio di venerdì 3 maggio, torna venerdì 17 maggio (ore 18) “Fish & Djs”, viaggio in musica tra i banchi del Mercato dei pescatori della Darsena (Calata Vignoso). I dj al centro della seconda tappa sono Les Giants, Soulfingers e Alessio Glisenti. “Fish & Djs”, organizzato dall’associazione culturale Forevergreen.fm in collaborazione con Coldiretti Pesca Liguria e il Comune di Genova, prosegue il 31 maggio, il 14 e il 28 giugno e il 12 luglio.

Un format nuovo, frutto di diverse sperimentazioni portate avanti negli ultimi anni anche tramite Electropark, festival internazionale di musica elettronica e sperimentazione artistica. «La seconda tappa di “Fish & Djs” – anticipa Alessandro Mazzone di Forevergreen.fm, direttore di Electropark – vede protagonisti Les Giants, Soulfingers e Alessio Glisenti: tre dj atipici, che leggono suoni del passato in chiave contemporanea e sperimentale». Per due venerdì al mese, al Mercato dei pescatori della Darsena il calare del sole è accompagnato da sound ricercati e fritture di pesce, preparate col pescato del giorno dai pescatori della Cooperativa Campagna Amica. «Tra maggio e luglio ospiteremo dj locali e non solo – prosegue Mazzone – al Mercato dei pescatori della Darsena, in un’area costellata da importanti centri della cultura cittadina come il Galata Museo del Mare e il Museo di Palazzo Reale. Nell’ottica di rafforzare il processo di rigenerazione culturale, è molto importante far emergere in rete con le associazioni del territorio le proprie risorse e le proprie tradizioni, ma anche le persone, i luoghi e la contemporaneità del nostro tempo. Siamo già concentrati sui prossimi step: possiamo anticipare che ai già annunciati FiloQ, venus&bacchus, Amon Lu si aggiungeranno, a giugno, anche Davide Cedolin aka Mangoweeda e Giorgio Gazzo, in un percorso di riconoscimento della cultura musicale elettronica genovese, tra un banco e l’altro, per un totale di 18 artisti lungo i sei appuntamenti ogni due venerdì fino al 12 luglio». 

“Fish & Djs” è nato dall’intento di coinvolgere più figure e realtà possibile nella rivalutazione territoriale, valore fondante di Electropark Festival. «In attesa del festival di ottobre – continua Alessandro Mazzone – il nostro percorso di promozione del territorio attraverso la cultura contemporanea prosegue con pescatori e dj uniti per regalare al quartiere e alla città un ciclo di eventi che valorizzi, attraverso la musica elettronica, il patrimonio di Genova. Saranno occasioni – conclude – per promuovere l’aggregazione tra persone e creare nuove relazioni di socialità, ispirare nuovi approcci di intendere le tradizioni e generare nuove comunità».  

Electropark è un progetto di Forevergreen.fm finalizzato a rilanciare il percorso di attivazione e valorizzazione di edifici e luoghi del Centro Storico genovese attraverso la musica elettronica.

L’ingresso è gratuito.

Ulteriori informazioni: Pagina Facebook Electropark Festival

  I PROTAGONISTI DELLA SECONDA TAPPA DI “FISH & DJS”

LES GIANTS ha smesso di credere. Non a suoni cosmopoliti che s’intrecciano tra passato e presente continuo. Dischi di musica psichedelica, spiritual jazz e ambient si toccano, si riproducono. Sono di Biella.

SOUL FINGERS  è viscerale, è fuori tempo e stonato. Soul Finger è la serata che farà rivivere il feeling di quelli strepitosi anni ’60, delle loro balere intrise di sudore e alcool, luoghi di balli scatenati. Impossibile rimanere fermi, impossibile non “sentire” la musica.

  ALESSIO GLISENTI è un Dj/produttore interessato alla musica di tutto il pianeta ed influenzato da tutto ciò che crea un suono : “anche dalle chiavi, dalle monete e dal tacco delle scarpe”. La sua combinazione perfetta è una cassa Techno, un basso massiccio, melodie deep, percussioni controtempo e suoni dub. Fondatore dell’associazione culturale We are for Beat con base ad Imperia con cui alimenta il movimento clubbing Ligure. Label manager dell’ etichetta tutta al genovese, Raw Trax Records, sempre alla ricerca di sonorità originali provenienti da tutto il mondo.

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Programma eventi Genova Celebra Colombo

Genova Celebra Colombo

PROSEGUE “FISH & DJS” CON LES GIANTS, SOULFINGERS E ALESSIO GLISENTI VENERDÌ 17 MAGGIO 2019 PROSEGUE “FISH & DJS” CON LES GIANTS, SOULFINGERS E ALESSIO GLISENTI Dopo il successo dell'esordo di venerdì 3 maggio, pescatori e dj tornano insieme al Mercato dei pescatori della Darsena per promuovere il territorio genovese attraverso la musica elettronica.

[retegenova]

VENERDÌ 17 MAGGIO 2019 PROSEGUE “FISH & DJS” CON LES GIANTS, SOULFINGERS E ALESSIO GLISENTI

Dopo il successo dell’esordo di venerdì 3 maggio, pescatori e dj tornano insieme al Mercato dei pescatori della Darsena per promuovere il territorio genovese attraverso la musica elettronica. Ingresso gratuito

Genova – Tonalità ambient, fritture di pesce, suoni groove e house music per la valorizzazione del territorio genovese. Dopo il successo dell’esordio di venerdì 3 maggio, torna venerdì 17 maggio (ore 18) “Fish & Djs”, viaggio in musica tra i banchi del Mercato dei pescatori della Darsena (Calata Vignoso). I dj al centro della seconda tappa sono Les Giants, Soulfingers e Alessio Glisenti. “Fish & Djs”, organizzato dall’associazione culturale Forevergreen.fm in collaborazione con Coldiretti Pesca Liguria e il Comune di Genova, prosegue il 31 maggio, il 14 e il 28 giugno e il 12 luglio.

Un format nuovo, frutto di diverse sperimentazioni portate avanti negli ultimi anni anche tramite Electropark, festival internazionale di musica elettronica e sperimentazione artistica. «La seconda tappa di “Fish & Djs” – anticipa Alessandro Mazzone di Forevergreen.fm, direttore di Electropark – vede protagonisti Les Giants, Soulfingers e Alessio Glisenti: tre dj atipici, che leggono suoni del passato in chiave contemporanea e sperimentale». Per due venerdì al mese, al Mercato dei pescatori della Darsena il calare del sole è accompagnato da sound ricercati e fritture di pesce, preparate col pescato del giorno dai pescatori della Cooperativa Campagna Amica. «Tra maggio e luglio ospiteremo dj locali e non solo – prosegue Mazzone – al Mercato dei pescatori della Darsena, in un’area costellata da importanti centri della cultura cittadina come il Galata Museo del Mare e il Museo di Palazzo Reale. Nell’ottica di rafforzare il processo di rigenerazione culturale, è molto importante far emergere in rete con le associazioni del territorio le proprie risorse e le proprie tradizioni, ma anche le persone, i luoghi e la contemporaneità del nostro tempo. Siamo già concentrati sui prossimi step: possiamo anticipare che ai già annunciati FiloQ, venus&bacchus, Amon Lu si aggiungeranno, a giugno, anche Davide Cedolin aka Mangoweeda e Giorgio Gazzo, in un percorso di riconoscimento della cultura musicale elettronica genovese, tra un banco e l’altro, per un totale di 18 artisti lungo i sei appuntamenti ogni due venerdì fino al 12 luglio». 

“Fish & Djs” è nato dall’intento di coinvolgere più figure e realtà possibile nella rivalutazione territoriale, valore fondante di Electropark Festival. «In attesa del festival di ottobre – continua Alessandro Mazzone – il nostro percorso di promozione del territorio attraverso la cultura contemporanea prosegue con pescatori e dj uniti per regalare al quartiere e alla città un ciclo di eventi che valorizzi, attraverso la musica elettronica, il patrimonio di Genova. Saranno occasioni – conclude – per promuovere l’aggregazione tra persone e creare nuove relazioni di socialità, ispirare nuovi approcci di intendere le tradizioni e generare nuove comunità».  

Electropark è un progetto di Forevergreen.fm finalizzato a rilanciare il percorso di attivazione e valorizzazione di edifici e luoghi del Centro Storico genovese attraverso la musica elettronica.

L’ingresso è gratuito.

Ulteriori informazioni: Pagina Facebook Electropark Festival

  I PROTAGONISTI DELLA SECONDA TAPPA DI “FISH & DJS”

LES GIANTS ha smesso di credere. Non a suoni cosmopoliti che s’intrecciano tra passato e presente continuo. Dischi di musica psichedelica, spiritual jazz e ambient si toccano, si riproducono. Sono di Biella.

SOUL FINGERS  è viscerale, è fuori tempo e stonato. Soul Finger è la serata che farà rivivere il feeling di quelli strepitosi anni ’60, delle loro balere intrise di sudore e alcool, luoghi di balli scatenati. Impossibile rimanere fermi, impossibile non “sentire” la musica.

  ALESSIO GLISENTI è un Dj/produttore interessato alla musica di tutto il pianeta ed influenzato da tutto ciò che crea un suono : “anche dalle chiavi, dalle monete e dal tacco delle scarpe”. La sua combinazione perfetta è una cassa Techno, un basso massiccio, melodie deep, percussioni controtempo e suoni dub. Fondatore dell’associazione culturale We are for Beat con base ad Imperia con cui alimenta il movimento clubbing Ligure. Label manager dell’ etichetta tutta al genovese, Raw Trax Records, sempre alla ricerca di sonorità originali provenienti da tutto il mondo.

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PROSEGUE “FISH & DJS” CON LES GIANTS, SOULFINGERS E ALESSIO GLISENTI VENERDÌ 17 MAGGIO 2019 PROSEGUE “FISH & DJS” CON LES GIANTS, SOULFINGERS E ALESSIO GLISENTI Dopo il successo dell'esordo di venerdì 3 maggio, pescatori e dj tornano insieme al Mercato dei pescatori della Darsena per promuovere il territorio genovese attraverso la musica elettronica.

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(via MANGOWEEDA - Chuyến Đi Astral - YouTube)

Primo singolo del nuovo disco di Mangoweeda

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(via GrassJar (Edit/Rework of Gang Gang Dance "Glass Jar") by Mango Weeda | Free Listening on SoundCloud)

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(via Major Lazer & DJ Snake - Lean On feat. MØ (Mangoweeda Rework) by Mango Weeda)

Davide è scatenato in questa afa col suo dub digitale

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(via Rihanna - Bitch Better Have My Money (Mangoweeda Dubby Version) by Mango Weeda | Free Listening on SoundCloud)

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(via MANGOWEEDA "New Born" - YouTube)

Lezioni di biologia

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DLSO vi presenta in esclusiva “Four Songs EP” di Mango Weeda. Progetto nato dalla mescolanza additiva di Davide Cedolin, rappresenta il lato ancora più psych del progetto Japanese Gum. La parola d’ordine è contaminazione: variegate percussioni afro si lasciano accompagnare da giri di basso di pura scuola dub jamaicana, su cui si installano echi, vocalizzi etnici alternati a cori da sabba acido e elettronica levigata per scopi ludici. Che sia una proposta ad alto tasso di psichedelia lo si evince già dal monicker scelto. Ora non vi resta che immergervi nel trip.

Mango Weeda – Four Songs EP / PREMIERE

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anche i japanese gum su questa compilation limitatissima.

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Chi sono i Japanese Gum? Bella domanda, loro si descrivono con un lapidario “Wow and Flutter”. In realtà sono un duo genovese nato nel 2005 e composto da Davide Cedolin e Paolo Tortora, cui si unisce Giulio Fonseca (già conosciuto per il progetto Go Dugong) per i live. La loro musica è una miscela ben calibrata di psych-rock, shoegaze e glitch a contrappuntare il tutto. Hanno pure partecipato all'edizione 2012 del SXSW e il loro primo album, Hey Folks! Nevermind, We Are Falling Down risale al 2007.

I sogni altissimi dei Japanese Gum | NOISEY