Sandro Mussida

Rueben (1) is the first NFT minted from the original master of the album Rueben, released on vinyl by Italian art label Die Schachtel in 2020, and part of the series Music On Three Tuning Systems, For Electric Guitar, Bass Clarinet And Cello Samples.

Album notes:
“Following EEEOOOSSS (Soave, 2019), ​Rueben makes use again of a microtonal vocabulary and a three-instrument sound palette. This time the samples are approached in a radically different way and are treated as minuscule sound atoms projected at extremely fast speed to form structures of ever changing density. In this new record, electric guitar, bass clarinet and cello harmoniously dialogue with each other, forming a multi-layered and contemplative sonic landscape. The acoustic response of the big reverberant church of St.Giusto in Volterra (Italy), where the sounds were played and recorded as they echoed in the space, gives the source material its peculiar depth adding harmonic complexity but also a sense of realness and liveness to the listening experience.			
The work has been inspired by the observation of Italian Renaissance paintings during Mussida’s composition sessions in the summer of 2018 and recalls Pavel ​Florenskij​’s idea of ‘reverse time’, conceived by the Russian theologian when discussing his well-known theory of reverse perspective in relation to Mediaeval Russian icons. Reverse time refers to a particular temporal condition underlying dreams and the experience of looking at works of art: a non-linear conception of time presenting its own duration, as opposed to the empirical one unfolding in our everyday life.	
Following a new established relationship between seeing and hearing, a similar temporal conception seems to emerge from the listening of the nine compositions forming ​Rueben​, an invitation to reflect through the language of sound on the time spent absorbing an image through one’s eyes.
The work could then be listened to as the translation into sound vibrations of the experience of seeing, a trace of suspended time, even as a tangible sensation or a memory of it, the result of a process of translation between the different media of perception.”	
text by Bradford Bailey.
			
CREDITS	
Composed and produced between June and July 2018
Acoustic response recorded in the S.Giusto Church, Volterra, Italy by Mirco Mencacci and Luca Ciarfella on August 12, 2018
Edited and mixed in Perth, Western Australia, between March and April 2020			
LP release by Die Schachtel
Mastering,  Giuseppe Ielasi
Artwork and Type Design, Bruno Stucchi 
Original cover ink painting, Akihide Monna
Issued on vinyl in a one-time edition of 250 copies and pressed to 180g marble vinyl, housed in a pro-printed inner sleeve and jacket, contained in a silk-screen PVC sleeve.

0xd8265b3e708ddb4754c34fef3d7a77729c4c1ff059addcfddb9264782127cc6e

Rueben (1)

I produce music between London and Tuscany Italy, building bridges between the classical instrumental and operatic tradition and the digital, spatial and ambient contemporary vibe.

my own take on the album on Mirror: 
https://mirror.xyz/0xF875c9563da2B3442bf162485CE6Abc61Dc27648/1Aknd4GJm5OK8LaQ6lMzHdVdXPHnaKf92PXXWkteB88

some liner notes for the vinyl issue by Bradford Bailey
Riding the razor’s edge between rigorous experimentation, innovation, and tradition, London based, Italian composer, cellist, and electronic performer, Sandro Mussida, joins the Die Schachtel family with Rueben, his 3rd solo LP.

Active since the early 2000s, Sandro Mussida worked extensively with Mark Fell, Curl Collective, Lorenzo Senni, Oren Ambarchi, and Alessandra Novaga, among others, as well as a founding member of the interdisciplinary artists' group TQS Collective, before releasing his solo debut, Ventuno Costellazioni Invisibili, on Metrica in 2017, followed by Eeeooosss, released by Soave in 2019. Rueben, like its predecessor, deploys a microtonal vocabulary within a three-instrument sound palette and builds upon Mussida’s long-standing investigations of active listening, augmented by a developing practice that challenges aural perceptions of historical, non-equal-tempered tuning systems.



Rueben

Ambient Instrumental

laxcity

0x097c47b2332a87638b3bd84d96de5ea65c6a7a616053daf32cc8092e6e88338b

Universe

Music Research

Roberto Musci

The music was created using white noise modulations and singing bowls as the basis for original Dadaist poetry and music, recorded between 1916 and 1926 on 78 rpm records and remixed by an artificial intelligence music program .
The music was transformed into an image ( spectrogram ) and modified by A.I. and  then transformed into sounds and music .

The Cover ,  from left to right :

1-Clara Tice (22 May 1888 – 2 February 1973) was an American avant-garde illustrator and artist, who spent most of her life in New York City, United States. Because of her provocative art and public appearances, she was seen as representative of bohemian Greenwich Village and thus known as "The Queen of Greenwich Village.

2-Hannah Höch (German: 1 November 1889 – 31 May 1978) was a German Dada artist. She is best known for her work of the Weimar period, when she was one of the originators of photomontage

3-Elsa Baroness von Freytag-Loringhoven ( 12 July 1874 – 14 December 1927) was a German-born avant-garde visual artist and poet, who was active in Greenwich Village, New York, from 1913 to 1923, where her radical self-displays came to embody a living Dada.

4-Suzanne Duchamp-Crotti (20 October 1889 – 11 September 1963) was a French Dadaist painter, collagist, sculptor, and draughtsman. Her work was significant to the development of Paris Dada and modernism and her drawings and collages explore fascinating gender dynamics.

5-Beatrice Wood (March 3, 1893 – March 12, 1998) was an American artist and studio potter involved in the Avant Garde movement in the United States; she founded and edited The Blind Man and Rongwrong magazines in New York City with French artist Marcel Duchamp and writer Henri-Pierre Roché in 1917.

For more information and insights please visit : 

https://sites.google.com/view/fivewomenindadaism

https://sites.google.com/view/robertomusci/a-i-generative-art

https://sites.google.com/view/generative-art

0xafc2faa4d640e971a8ba6891340ca555818de44cef60d2ef475a536fd348f1f9

Five women in Dadaism

Kaitlyn Raitz

The first single from multi-style cellist Kaitlyn Raitz's sophomore album, "In Spite of Everything."

0x5c63b0b092c1d5404754016140704117c8d1cf1f9c4ac7381f64706a3fcccbd2

For the Best

Eric Pan

Within the grand sweep of the universe we occupy an invisible amount of space, and an even smaller moment in time. "The Cosmic Blink Expands" explores the possibility of taking the mere blip of a second we've been given -- widening it, delving into its finest details, imbuing life with meaning and a kaleidoscope of color.

This track plumbs a discovery of the unknown: music sung with tenderness for a child new to the world, conveying care and the promise of exploring the cosmos together, no matter how dark it may be. A musical adaptation of a Pleiadian folk song, "The Cosmic Blink Expands" offers homage to Maurice Ravel and Bill Evans, spoken from the quietude and vastness of space. Its title illuminates a distinctly Pleiadian perspective: life’s limitless possibilities blossoming from the single blink of a moment we have each been gifted.

— Making of / Behind the scenes —

the first time I performed this song live, the audience reaction was a surprise.

to tell the story right I'd like to go back to the beginning.

around christmas in darkness of winter lockdown, I sat in front of a piano to play one note -- causing the following melody to unfold by itself. it was one of those songs nearly fully formed upon arrival, which happens occasionally. but this song felt beamed from the skies, reminiscent of a dream.

the time came to choose songs to debut on tour with Alex Wong. I hesitated to pick this at all. its quietness and lack of rhythm made me wonder about its "show-appropriate"-ness. but I thought about how it had been written during a songwriting sprint, how out of dozens of songs born that week I kept returning to it again and again. how love letters to Ravel and Evans are bookmarked inside its sheaves. how its power, for me, comes from its resolute tenderness.

hearing listeners respond with "I am floating in space" and "I want this mood to continue forever" was deep catharsis. though the music came from mysterious origins, to me these words somehow also said: "message received".

I'm excited to present this song as the first statement of LULLABIES OF THE PLEIADES -- all songs and more about the project will be revealed soon, including lyrics for this one.

it's an honor to work with Brian Trahan for his expert assistance through the recording and mixing journey, Keith Zarriello for the impulse and guidance to embark on this whole adventure in the first place, Alex Saltz of APS Mastering for his exemplary skills and aesthetic sensibilities. thanks also to Kyle McEvoy of Sonder House, and the team at Falling Sea records for the co-release.

much love and gratitude to Juliette Viger for the visionary artwork <3

0xd0ba92ab86830e2253b57e349c50add1f779e084e04a4cd75d72b9d0d36a488d

Lullabies of the Pleiades

The Cosmic Blink Expands

ryan whyman

0xc7084f0f7537175332a395c962603c469b89a151890994831709e299747ab4f0