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Discography

Destroyed by Madness | Unknown Tone Records | 2020

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The delicate, suggestively cinematic and ambient-like aura of Giannico’s music easily fit the microgenres and stylistic belonging of this label whose objective is to promote soothing electronica with a vaporous film-noir slow pace. (IglooMagazine)

Destroyed by Madness

Unknown Tone Records 2020
released February 26, 2020
All Sounds + Production | Francesco Giannico
Album Photo Cover by Michele Maglio | Model: Carolina Ventura Credits
Thanks to Elena and Leonardo

Destroyed by Madness, is an homage to “The Howl” by Allen Ginsberg as you can read from the title of the album and titles of the tracks too; they are basically short excerpts from his famous work. The album was created using samples captured from various real life situations and encounters, above all from a social point of view and for this reason it intends to pay homage to all women, men and children underrepresented and outcast in this materialistic era which Ginsberg wrote so passionately about in “Howl” (1954-1955).

One should not seek to find a direct correlation between A.Ginsberg and this musical work. What the artist suggests here, is a cerebral notion that finds its roots in the selection process of audio samples and in the overall mood of production in the entire work.

(IT) Con inattesa coerenza ci si trova così a navigare tra correnti neoclassiche guidate dalla voce del pianoforte finemente screziata da interpolazioni elettroniche (“Best Minds Of My Generation”, “Hysterical Nacked”), atmosferiche distese scandite da placidi riverberi chitarristici e granulose frequenze sintetiche (“Starry Dynamo”, “Floating Across The Tops Of Cities”), fino ad approdare a onirici territori pervasi da luminosi echi post-rock (“The Madman Bum”), sempre sospinti da una ruvida brezza di indissolubile inquietudine.(Ondarock)

(IT) Delicati frammenti pianistici e riverberi dal calore avvolgente pervadono infatti interamente gli spazi sonori di “Destroyed By Madness”, donandovi contenuti di profonda empatia, che sfociano a tratti in spunti di sorprendente romanticismo. (MusicWontsaveyou)

Ascolta nella puntata su Rai Radio 3 del 25.2.2020
Ascolta nella puntata su Rai Radio 3 del 28.2.2020

Les Mondes Imaginaires | Time Released Sound | 2019

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The sounds are delicate, impressionistic, a reflection of a stroll in the Italian countryside.  Francesco Giannico‘s photographs, now ripped and collaged, cover the case of the album.  Field recordings, now shuffled and enhanced, form the basis of new compositions.  Conversation and cutlery conjure a warm feeling on the opening piece.  As gentle rain falls, one can imagine the troubadour beneath a parapet, calmly waiting out the passing storm.(Acloserlisten)

Les Mondes Imaginaires

Time Released Sound 2019
released June 16, 2019
All music by Francesco Giannico
Mastering by Alexander Vatagin
Artwork and design by Colin Herrick

In the 20134 the Alcubierre warp drive, a speculative idea based on a solution of Einstein’s field equations in general relativity , will be reality and men will be able to visit exoplanets far hundreds of light years from the earth. The first of these planets to be visited will be “Ross 128b” near a red dwarf. Upon arrival on the planet a group of explorers realizes that the vegetation is very similar to that of the Earth and that there are traces of a civilization that has recently disappeared, they can also hear echoes of human­like voices.

This is an exceedingly lovely and evocative, field recording infused aural journey through the Italian countryside, as is portrayed in the manipulated photographs used in the packaging that were taken by the musician during an outdoor workshop that he was involved in. This time Francesco utilizes more real instrumentation, and the piano, guitars and ethereal vocals, blended with delicately refined electronic nuances create an overtly organic feel to the album in general. The melodic, melancholy and pastoral mood he sets here will have you wishing you were there yourself… wandering in the fields…over the hills…and as night falls, out under the star spattered Italian skies.

La sensibilità da sempre applicata da Francesco Giannico alle sue ricerche di paesaggi sonori dai tratti spesso sorprendentemente affascinanti lo ha via via condotto al di là del descrittivismo “concreto”, dapprima a un’organica compenetrazione con l’oggetto stesso della sua osservazione e quindi alla creazione di universi sonori nuovi e immaginari, com’è appunto quello condensato nelle sette tracce del suo nuovo lavoro. Come già nella sua ultima opera solista (“Deepness“, 2017) l’artista pugliese sviluppava un itinerario concettuale travalicante l’aspetto meramente percettivo, così in “Les Mondes Imaginaires” compie un ulteriore passo verso un’esperienza d’ascolto trascendente e, a suo modo, fantascientifica.(Musicwontsaveyou)

Deepneess | Manyfeetunder | 2017

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Francesco Giannico‘s latest album presents itself as “an unlikely acoustic bio-marine chronotope through a collaborative mode”. The collaborative aspect is the incorporation of sound samples collected from participants around the world, a concept that worked a treat on Agoraphonia (2016, Dronarivm) but with a change in focus from the urban to the aquatic. Giannico then takes these samples and weaves them into complete and immersive soundscapes that exist in a time & space of his imagining, e.g. a chronotope albeit a musical rather than literary one.(StationaryTravels)

Agoraphonia

Manyfeetunder 2017
music and mastering by Francesco Giannico
thanks to Dulcie Wagstaff for the photo cover
www.dulciewagstaff.co.uk

‘Deepness’ talks about the “sea” using sea audio samples from all over the world to discover the soundscape of the sea. After an big open call several artist and common people sent their sound contributions to be manipulated and
‘Deepness’ is a humble and charming attempt to reconstruct an unlikely acoustic bio-marine chronotope through a collaborative mode, involving different people.

It’s not intended like a scientific album, there is only you and the sea. a very special thanks to all my audio samples contributors:

ANGELO GUIDO / PAOLO BESAGNO / DAVIDE MONTORO / GIULIO ALDINUCCI / JELENA PAVLOVIC / DANILO LIGATO / MARCO BONACCOLTO / MARTINA MELILLI / STEFANO SERRETTA / ROSSELLA TRICARICO / SIMONE SANTARSIERO

La consistenza inevitabilmente liquida delle suggestioni evocate trova tuttavia nel corso del lavoro pregevoli rifiniture compositive, sfociando gradualmente in una peculiare ambience orchestrale, ricamata da esili detriti sonori e miniature armoniche del tutto integrate con un flusso vivido e mutevole, non alieno persino da un certo romanticismo cinematico in brani quali “Deep” e “I Can’t”, che del soundscaping ambientale rende un’interpretazione pienamente compenetrata all’elemento rappresentato e, come tale, davvero lucida e coinvolgente come non mai.(Musicwontsaveyou)

Reframing | Eilean Records | 2017

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Volete toccare con mano la dolce vulnerabilità dell’animo umano, volete oltrepassare la soglia del reale per immergervi in uno stato di grazia onirica che vi permetta di essere in voi, eco di voi stessi, testimoni degli accadimenti più intimi come la nascita di una lacrima o la percezione infinitesimale delle cose? Vi interessa abbandonare tutte le scuole di pensiero, sciogliere qualsiasi legame allontanandovi lievi nella reale percezione del sentire? In fin dei conti questo dovrebbe essere il compito della musica e questo è ciò che il suono firmato Giannico-Aldinucci riesce a fare.(Sherwood)

Les Mondes Imaginaires

Eilean Records
Composed, performed, mixed and produced by Francesco Giannico and Giulio Aldinucci between 2015 and 2016 in Bari and Sovicille (Siena) in Italy.
Artwork by Rebecca Cairns
Mastered by Ian Hawgood
Inside Photography by Mathias Van Eecloo
Design by Rémi Verdier

Un anno esatto dopo il loro primo incontro (“Agoraphonia”), Francesco Giannico e Giulio Aldinucci si ritrovano per proseguire insieme una parte dei rispettivi percorsi di esplorazione del soundscaping ambientale.

A differenza dell’approccio “topografico” della precedente opera collaborativa, le sei tracce di “Reframing” si concentrano piuttosto sulla dinamica del suono, senza tuttavia perderne di vista l’aspetto materico, incessantemente plasmato in un flusso visionario, pervasivo, a tratti disagevole. Idealmente ripartito in tre parti, ciascuna formata da due brani, il lavoro muove da loop e decompressioni screziate (“Reframing”, “Encoding”), attraversa correnti di elettricità statica e dense saturazioni sintetiche (“Storage”, “Retrieval”), per poi approdare a una più compassata dimensione ambientale, popolata da risonanze immaginifiche e onde in dissolvenza nebbiosa (“Iconic”, “Echoic”).

Nelle mani di Giannico e Aldinucci, quello del suono diventa dunque un processo evolutivo, non circoscritto a una ricognizione descrittiva bensì, ancora una volta, filtrato attraverso un istinto e una pratica artistica profondamente umana.(Musicwontsaveyou)

Agoraphonia | Dronarivm | 2016

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One might broadly classify this as a work of ‘ambient’ music, but in drawing together field recordings and manipulating the sounds and incorporating them into the rich sonic tapestry that constitutes samples and shimmering drones which form the material of Agoraphonia, Giannico and Aldinucci have gone far beyond the realms of background music and of atmospherics. Agoraphonia is a deeply evocative work, and one that requires a substantial degree of attention and focus.(Auralaggravation)

Agoraphonia

Dronarivm
released July 18, 2016
music by Francesco Giannico and Giulio Aldinucci
mastered by Alexandr Vatagin

A town square is an open public space commonly found in the heart of a traditional town and used for community gatherings. Based on this basic perspective, it is easy to notice how the soundscape of this living center could represent not only sonically, but also from a cultural point of view, a priceless document. After an open call lasted 6 months to send most interesting audio material concerning the theme of the “square” the samples have been selected and reworked in order to create an ideal symphony of all living squares all over the world. After some months a minor open call was done also to obtain photos about the same theme in order to realize a coherent packaging.

The album features four tracks based on samples collected at specific locales – Koutobia in Marrakesh, Morocco (samples recorded by Fabio R. Lattuca);  Plaza de Mayo in Buenos Aires, Argentina (samples recorded by Ana Maria Romano G); Shantangjie in Suzhou, Jiangsu, China (samples recorded by Luca Bonaccorsiin); and Piazza Umberto in Calcata Vecchia, Italy (samples recorded by Davide Di Francesco) – and an 18-minute final coda, a veritable sonic kaleidoscope integrating samples from 20 different contributors. Agoraphonia is a gently exhilarating and thought-provoking global journey, a quiet celebration of the art of listening and perceiving.

Il progetto di Francesco Giannico e Giulio Aldinucci fa propria l’intuizione geniale e provocatoria di Cage cogliendo, tramite innumerevoli registrazioni, campionamenti successivamente manipolati e sovraincisi, il suono di quattro piazze situate in luoghi diversissimi tra loro: Marocco, Argentina, Cina e Italia. Piazze che esplodono di vita e di suoni, piene di storie, sia quelle piccole e personali con la “s” minuscola, sia quelle protagoniste delle grandi storie con “S” maiuscola. (Ondarock)

Giannico and Aldinucci masterfully blend delicately textured ambient layers into these field recordings to give us a sense of perspective as well as a sense of place, thus enhancing our listening in a way that prompts us to imagination and interpretation. Every track finds a perfect balance between immersion and detached observation as sounds are extracted from a cacophonous urban sea and brought into focus allowing narratives to emerge.(StationaryTravels)

Erased | Oak Editions | 2015

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L’interpretazione da parte di Francesco Giannico del tema della memoria, ormai classico per molti sperimentatori contemporanei, è filtrata dall’interesse per il jazz dell’artista pugliese, attraverso il quale trova un esito molto personale e per certi versi sorprendente.
In antitesi agli abituali concept “hauntologici”, in “Erased” Giannico riecheggia fin dal titolo l’idea del ricordo che svanisce, nella stessa misura in cui l’essenza delle composizioni originali manipolate nei quattro brani del lavoro svanisce sì, ma soltanto per trasformarsi in qualcosa di altro, sotto la cui forma perpetuare invece la propria esistenza. (Musicwontsaveyou)

Erased

Oak Editions 2015
All Sounds + Production | Francesco Giannico with Thollem McDonas (grand piano) and Amy Denio (vocals, saxophone, objects).
Artwork is made by minus.log – “sala d’attesa” 80×80, oil on canvas and gauze www.minuslog.it

Erased is an evocative work made by Francesco Giannico electronically manipulating unique recordings by Thollem McDonas (grand piano) and Amy Denio (vocals, saxophone, objects).

Sometimes we need to erase : let life sink in a white abyss. This is what you feel listening to the new Francesco Giannico’s sound work, Erased, a unique work that owns its birth to a collaboration between Giannico (electronica, mixing), the pianist Thollem Mc Donas, and the singer Amy Denio, who plays also saxophone and creates sounds using various objects.

In Erased, Francesco Giannico manipulates and orchestrate sounds in surrounding and sinking circles, like quicksands moving down to the endless bottoms of your very hears.

Listening to the four tracks of the album, there’s such a intensity and variety of sounds, rhythms, passing from Thollem Mc Donas’ grand piano emerging from silence, to electronic sounds, then to Amy Denio’s voice screaming loud and, somehow, making the space wider. The language of contemporary music is used to depict a wide range of feelings: rage, fear, quest for peace of mind, each feeling being erased while another one emerges from an apparent chaos, that soon becomes sound.

Metrophony | Time Released Sound | 2014

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To be compelling, a narrative requires a certain amount of conflict, however subtle it may be. Giannico explains the duality that drives the narrative of Metrophony.  “The metro trip represents a dynamic soundscape in conflict with a static soundscape boxed in itself with a lot of samples already listened in a circular way like the mechanical sounds, doors of the train, train brakes and so on.” (Stationarytravels)

Metrophony

Time Released Sound 2014
Music and Mastering by Francesco Giannico
Artwork and design by Colin Herrick
TRS047 is an atmospheric and underground metro centric release from Italian sound artist, Francesco Giannico, entitled “Metrophony”. On August 6, 2013, Giannico recorded the entire route of the “B” line of the subway in the city of Rome, that connects the “Rebibbia” station with the “Laurentina” station, and the “B1” line that connects the ‘Bologna’ station with the ‘Conca D ‘Oro’ station… Audio samples collected were manipulated and transformed electronically, and enriched with synth and/or musical instruments such as guitars, piano, violins. The result is “Metrophony” which is also an art installation.

On August 6, 2013, Francesco Giannico recorded the entire route of the “B” line of the subway in the city of Rome, that connects the “Rebibbia” station with the “Laurentina” station, and the “B1” line that connects the ‘Bologna’ station with the ‘Conca D ‘Oro’ station… Audio samples collected were manipulated and transformed electronically, and enriched with synth and/or musical instruments such as guitars, piano, violins. The result is “Metrophony” which is also an art installation.

“The subway trip is a dynamic soundscape, in conflict with the static soundscape that is enclosed by the act itself. This is the function of the mechanical nature, and of the repetitive gesture typical of post-industrial societies. Therefore, some daily sounds will recreate in a circular fashion, such as mechanical sounds, the doors of the train, the train brakes, and so on. Over time we can see that in fact the so-called dynamic soundscape is actually a static soundscape… every day that passes it becomes more like itself.”

Proprio questo rende “Metrophony” un’opera al tempo stesso concettualmente esemplare e densa di suggestioni avvincenti e ipnotiche, colte da una quotidianità in grado di offrire spunti auditivi che solo un attento e sensibile ascolto può essere in grado di catturare, rielaborare e restituire trasformate ma intatte nella loro essenza descrittiva.(Musicwontsaveyou)

Flow Signs | Oak Editions | 2013

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Ritroviamo Francesco Giannico (elettronica, field recording e chitarra in questo disco) in un nuovo progetto chiamato Flow Signs. In continuità con le sue collaborazioni di un certo livello, viene affiancato dal pianista Theo Allegretti. Insieme portano avanti il concetto di Soundscape: catturare l’essenza e la bellezza della natura attraverso la musica. Le sette tracce che compongono l’album colgono in pieno questo obiettivo con uno stile minimale e raffinato che ingloba, e allo stesso tempo destruttura, gli schemi dei generi di riferimento.(SonofMarketing)

Flow Signs

Oak Editions 2013
All Sounds + Production | Francesco Giannico and Theo Allegretti (acoustic piano)

The project “Flow Signs” was born by the encounter of Francesco Giannico, electroacoustic musician and video artist, with Theo Allegretti, ambient-jazz pianist and composer, based on a common poetic and musical sensibility that favors natural landscapes, surreal environments and rich interior scenarios, such as particular places from which emerge suggestions that would provide a different view also of our daily life worlds.

The flow can catapult us into a mental state of conscious unawareness, as though being swept away by a current of water and similarly Francesco Giannico (laptop, field recordings, objects, guitar) and Theo Allegretti (grand piano, prepared piano), with such an expressive approach, create a single cinematic and visionary stream.

The intuitive, improvised and atypical use of the piano, dropped within ambient and minimal atmospheres and enriched by contemporary jazz strokes, moves hovering always on the lookout for a blend with the interventions brought into play by the other artist that are realized in real-time reprocessing of sound material, distended atmospheres created thanks to the help of pads, glitch, rattles, squeaks and sounds of memory.