AIRCHAMBER3 Peripheral - CD 1 INHALE - EXHALE 2 FUNERAL MARCH FOR A BRAINCELL 3 TUNNEL VISION 4 DOPAMINE YUPPIE DUB 5 THE BURIED SECRET INSIDE MY VENTRICLES 6 RECOLLECTING PIECES OF TRESURED MEMORIES 7 CRIPPLING APPROACH ANXIETY 8 A BODY IS A MAP OF BRUISES 9 TEMPORAL LINE MANTRA 10 YEARS OF HYPOTHERMIA 11 CENTRAL NERVOUS SYSTEM DRUG DELIVERY 12 IN THE CORNER OF MY EYE PERIPHERAL VISION
Peripheral is the fresh new effort by Airchamber3 and marks a step forward from their debut. The improvisational element is still central in their compositional method, but Peripheral (recorded in a period of four years) shows how the trio, occasionally augmented by some additional musicians -Vincenzo Vasi (Patton/Capossela), Dominic Cramp (Carla Bozulich), Barbara De Dominicis, Luminance Ratio - has been able to integrate elements of different genres maintaining an experimental edge. This work has been conceived as an evocative soundtrack for a non existent film.
ANDREA “ICS” FERRARIS
guitar - bass - laptop - effects - drums LUCA SERRAPIGLIO
alto, tenor & baritone saxophone - bass clarinet - wind controller and synths - theremin - MaTiLda effects - drums ANDREA SERRAPIGLIO
cello - laptop - casio sk-1 - iPad - drums - vocals Special guests on Recollecting pieces of tresured memories VINCENZO VASI
LUCA SIGURTÀ, GIANMARIA APRILE, LUCA MAURI
Special guest on A body is a map of bruises BARBARA DE DOMINICIS
Special guests on Crippling approach anxiety ALESSANDRO BUZZI
Recording_between 2009 and 2012 by Andrea Serrapiglio at B.A.D. Instruments Studio, Alessandria, Italy Mixed by Airchamber3, masterered by Andrea Serrapiglio Design by Simone Grillo - landskap.it Produced by Frattonove - fratto9.com airchamber3.tumblr.com
AIRCHAMBER3 Airchamber3 is an ensemble based on free improvisation, visuals and ready made soundtracks. While coming from different background, we started free-improvising trying to focus our ideas and practice after practice, improvisation after improvisation it soon took shape. We use common instruments like sax, electric cello and electric guitar but were into experimentation, into sound research (...whatever it means) and also into electronics: thats why we process the majority of the sounds through our beloved laptops and/or pedal effects trying to add something to the chemistry of our music. We also use contact microphones to voice whatever it fits well with what were doing, be it a piece of plastic or just the surface of an instruments (is it the real voice of the voiceless in music?). Our electro-acoustic sound is the material that we use for trying to cross-over the musical genres. Weâ€™re a trio, as suggested by the number at the end of our name, but we may increased the line up (musicians, video-makers, etc.), according to what we/they want to achieve. We worship improvisation and it will remain one of our constitutive elements but not the only one of course. Are we really free? Is our music really free? Are we ourselves? Who knowsunder a relativistic perspective to enter the world of improvisation could mean to enter the world of endless possibilities but we still think this extract from Derek Bailey says a lot: â€œThe lack of precision over its [free improvs] naming is, if anything, increased when we come to the thing itself. Diversity is its most consistent characteristic. It has no stylistic or idiomatic commitment. It has no prescribed idiomatic sound. The characteristics of freely improvised music are established only by the sonicmusical identity of the person or persons playing it.â€?