Tiziano Milani, acoustic architect, approached experimental music in the second half of the '90. His passion for the "collected" sounds led him to devote his work to this particular kind of music. Milani's music was released on CD-R by Setola di Maiale ("Chamber Music For Screeching and Artificial Insects" and "Music As a Second Language") and as freely downloadable Mp3s by the Chew'z net-label ("SuoniOggettiRisonanti").

"Nothing in the sounds I pick up is affirmed with will and enterprise, but rather whispered or murmured almost by chance, just like a conversation unintentionally heard on a subway train, or accidentally eavesdropped through the wall of an hotel room. The approach to sounds must not be simplified because every single sound is nothing but a small part of a whole which should be considered in its own theoretic - and then mechanic - execution. Several different stages of work are stratified in every single piece (contemporary or not). In some cases sounds are generated by touching, beating and breaking contact-miked objects. In other cases, they are the results of manipulated fluxes. In the audio tracks everything is deposited like in a melting-pot than receives and mixes alchemies. The work on sounds involves different aspects such as improvisation, which is seen like the ecstasy of the moment, like a synthesis between meditation and execution, contemplation and composition, but also a sense of void. The improvisation, the play by meaning of coincidences and causalities, are elements so important that resolve themselves in the idea of process / performance. One of the techniques I use consists into a stratification of the musical form, through which the same elements can have a different expressive function. This kind of "formal deepness" allows to move from the "background" element to the note / musical element in the "foreground" with continuity."

"Im Innersten" is conceived as a continuous flux where "all events coming from a different origin interact with each other so that each of them contains all the others in itself". Intervention is focused on the sound/space relation. The research operated inside a reverberating room is an important experience in this relation: rebuilding sonic objects starting from electronic and acoustic improvisations through the properties of "differently musical" objects that have "sensible" distinctive sound features. Part of the sounds of "Im Innersten" were obtained in such a way.

Research was developed through standard operations meant to measure the acoustic absorption level (UNI ISO 354/89) of different materials (blocks, panels, etc.). The analysis of the absorbing "power" of materials consist of procedures that are complex and exciting at the same time because of the improbable repetitivity of the measure themselves. Variants are many and seldom reproducible. Sample materials were put on the floor and the "improvised" sounds were introduced inside the room and then "recaptured" with their new properties (reverb times) by six microphones. Variation of the reverb time, due to the materials absorbing properties, is the main subject of such a sonic alteration. The resulting sounds were then assembled in a studio.

Limited edition release of only 100 copies!

   Packaging: Pro-CDR in resealable sleeve with pro-printed cardboard insert
   Release Date: October 2008
   Running Time: 62:09