Wintermute
2010, Die Schachtel Zeit Imp1.5
Cristiano Calcagnile: drums, percussions, objects, vocals
Massimo Falascone: alto & baritone saxophones, mouthorgan, tugombuto, electronics
Xabier Iriondo: mahai metak, objects, electronics
1) Henry Dorsett Case Folk Song (8:29)
2) Neuromancer (7:07)
3) Molly, the Razorgirl (4:53)
4) Intrusion Countermisures Electronics (4:44)
5) Chiba (4:15)
6) Wintermute (3:35)
Marco Posocco: vocals on tracks 1 - 2 - 5
Recorded at NIBIRU station in may 2008 by WINTERMUTE
Mixed at ZuloMetak and Nibiru station between 2008 and 2009 by WINTERMUTE
Mastered by Giuseppe Ielasi
Sounds, structures and words inspired by the novel NEUROMANCER by William Gibson
Produced by Fabio Carboni and Bruno Stucchi
Design: dinamo milano
ZEIT Imp1.5
www.die-schachtel.com
2010, Die Schachtel Zeit Imp1.5
Cristiano Calcagnile: drums, percussions, objects, vocals
Massimo Falascone: alto & baritone saxophones, mouthorgan, tugombuto, electronics
Xabier Iriondo: mahai metak, objects, electronics
1) Henry Dorsett Case Folk Song (8:29)
2) Neuromancer (7:07)
3) Molly, the Razorgirl (4:53)
4) Intrusion Countermisures Electronics (4:44)
5) Chiba (4:15)
6) Wintermute (3:35)
Marco Posocco: vocals on tracks 1 - 2 - 5
Recorded at NIBIRU station in may 2008 by WINTERMUTE
Mixed at ZuloMetak and Nibiru station between 2008 and 2009 by WINTERMUTE
Mastered by Giuseppe Ielasi
Sounds, structures and words inspired by the novel NEUROMANCER by William Gibson
Produced by Fabio Carboni and Bruno Stucchi
Design: dinamo milano
ZEIT Imp1.5
www.die-schachtel.com
Reviews:
(...) Taking on the feel of a radio play, the dialogue of Marco Posocco is lifted from William Gibson's "Neuromancer." And like other cyberpunk of the 1980's meaning is often times fleeting. The trio on Wintermute—Xabier Iriondo (guitar), Cristiano Calcagnile (percussion) and Massimo Falascone (saxophone)—execute a scratchy, dense narrative that certainly relied in post-production to pull the layers of sound together. Sampled, altered voice sets the tone as the electronics seem to flicker in and out like an old time cinema projector. The chronicle presented is indeed a soundtrack that is looking for a realization on screen or in the listener''s head.
Mark Corroto, All About Jazz, November 2010
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(...) Xabier Iriondo and his mahai metak, not to mention various objects and electronics, returns as part of Wintermute, a trio with Cristiano Calcagnile (percussion, objects, vocals) and Massimo Falascone (alto and baritone saxes, mouthorgan, electronics and tugombuto, whatever that is), joined by Marco Posocco on vocals on three of their album's six tracks. The name of the group derives from William Gibson's science fiction novel Neuromancer (via Philip K. Dick – Orval Wintermute, translator of the Nag Hammadi codices, was, apparently, a character in Dick's Valis), and extracts of Gibson's text are scattered throughout the disc. Like the Thau album mentioned above, this poses something of a problem: when the spoken word appears, it pushes the music into the background, and the whole affair becomes a rather cluttered, effects-heavy sci-fi hörspiel. Fine if you're a sci-fi fan, I suppose, but I'm not, and would have preferred hearing Falascone – an inventive musician I've had the pleasure of playing with myself – in a more exposed setting.
Dan Warburton, Paris Transatlantic, Autumn 2010
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(...) Ancor più originali i Wintermute (Cristiano Calcagnile batteria, Massimo Falascone sax, mouth organ, tugombuto ed elettronica, Xabier Iriondo mahai metak, oggetti ed elettronica; con Marco Posocco alla voce in tre tracce), che mettono in gioco una serie di forme mutanti dove l'art-rock (Neuromancer) convive con frattaglie di tradizione (Henry Dorsett Case Folk Song), rigurgiti RIO (Intrusion Countermisures Electronics), scampoli improvvisativi e jazz (Molly, the Razorgirl); è un altro dei dischi migliori del lotto e ha l'unico limite di essere anche il più breve di tutti: spero sinceramente in una prossima uscita personale su questa linea.
Stefano I. Bianchi, Blow Up, Settembre 2010
(...) Taking on the feel of a radio play, the dialogue of Marco Posocco is lifted from William Gibson's "Neuromancer." And like other cyberpunk of the 1980's meaning is often times fleeting. The trio on Wintermute—Xabier Iriondo (guitar), Cristiano Calcagnile (percussion) and Massimo Falascone (saxophone)—execute a scratchy, dense narrative that certainly relied in post-production to pull the layers of sound together. Sampled, altered voice sets the tone as the electronics seem to flicker in and out like an old time cinema projector. The chronicle presented is indeed a soundtrack that is looking for a realization on screen or in the listener''s head.
Mark Corroto, All About Jazz, November 2010
----
(...) Xabier Iriondo and his mahai metak, not to mention various objects and electronics, returns as part of Wintermute, a trio with Cristiano Calcagnile (percussion, objects, vocals) and Massimo Falascone (alto and baritone saxes, mouthorgan, electronics and tugombuto, whatever that is), joined by Marco Posocco on vocals on three of their album's six tracks. The name of the group derives from William Gibson's science fiction novel Neuromancer (via Philip K. Dick – Orval Wintermute, translator of the Nag Hammadi codices, was, apparently, a character in Dick's Valis), and extracts of Gibson's text are scattered throughout the disc. Like the Thau album mentioned above, this poses something of a problem: when the spoken word appears, it pushes the music into the background, and the whole affair becomes a rather cluttered, effects-heavy sci-fi hörspiel. Fine if you're a sci-fi fan, I suppose, but I'm not, and would have preferred hearing Falascone – an inventive musician I've had the pleasure of playing with myself – in a more exposed setting.
Dan Warburton, Paris Transatlantic, Autumn 2010
----
(...) Ancor più originali i Wintermute (Cristiano Calcagnile batteria, Massimo Falascone sax, mouth organ, tugombuto ed elettronica, Xabier Iriondo mahai metak, oggetti ed elettronica; con Marco Posocco alla voce in tre tracce), che mettono in gioco una serie di forme mutanti dove l'art-rock (Neuromancer) convive con frattaglie di tradizione (Henry Dorsett Case Folk Song), rigurgiti RIO (Intrusion Countermisures Electronics), scampoli improvvisativi e jazz (Molly, the Razorgirl); è un altro dei dischi migliori del lotto e ha l'unico limite di essere anche il più breve di tutti: spero sinceramente in una prossima uscita personale su questa linea.
Stefano I. Bianchi, Blow Up, Settembre 2010