![\"Silencio\"](\"https:\/\/www.ambientblog.net\/blog\/wp-content\/uploads\/2023\/12\/silencio.jpg\")
<\/a><\/figure>\n<\/div>\nMORITZ VON OSWALD \u2013 SILENCIO<\/a><\/em><\/strong><\/h3>\nMoritz von Oswald<\/strong><\/em> is a tough artist to pinpoint, and that is usually a good sign. Influential techno producer, Palais Schaumburg <\/em>percussionist. Co-founder of the legendary dub-techno duo Basic Channel <\/em>as well as (one of my all-time favorite reggae acts) Rhythm & Sound, <\/em>never afraid to enter unexpected experimental territories and cross musical boundaries. <\/p>\nSilencio<\/em><\/strong> opens with a long (12:34) electronic track which sounds fairly standard at first, but soon introduces some elements indicating which direction the album will take. In the tracks that follow, the 16-voice choir Vocalconsort Berlin<\/a> <\/em>often takes the lead, but is countered by von Oswald<\/em><\/strong>\u2018s <\/em>electronics and synthesizer voices. Four tracks (Luminoso, Infinito, Volta <\/em>and Opaco)<\/em> appear in two different versions; three others (Silencio, Librarsi <\/em>and Colpo)<\/em> only feature their original version.<\/p>\n\u2018What are the differences and similarities between human and artificial sound, between oscillations generated by vocal cords and synthesizer voices, voltage amplified by speakers?<\/em> [\u2026] The vast dynamism of the human voice adds to the profound weight of electronics while offering up a rhythmic source and sonic noise palette unexplored in von Oswald\u2019s repertoire. [\u2026] The focus is not on using one means to imitate the other, but to sonically discuss the tensions and harmonies between the two worlds and create a dialogue between them.\u2019<\/em><\/p>\nThis exciting music on Silencio<\/em><\/strong> is reminiscing the work of composers like Var\u00e8se, Ligeti<\/em> and Xenakis.<\/em> This music is meant for an avant-garde-loving audience, for those listeners who are not afraid of trodding unexpected new paths. <\/p>\n
Silencio<\/em><\/strong> opens with a long (12:34) electronic track which sounds fairly standard at first, but soon introduces some elements indicating which direction the album will take. In the tracks that follow, the 16-voice choir Vocalconsort Berlin<\/a> <\/em>often takes the lead, but is countered by von Oswald<\/em><\/strong>\u2018s <\/em>electronics and synthesizer voices. Four tracks (Luminoso, Infinito, Volta <\/em>and Opaco)<\/em> appear in two different versions; three others (Silencio, Librarsi <\/em>and Colpo)<\/em> only feature their original version.<\/p>\n \u2018What are the differences and similarities between human and artificial sound, between oscillations generated by vocal cords and synthesizer voices, voltage amplified by speakers?<\/em> [\u2026] The vast dynamism of the human voice adds to the profound weight of electronics while offering up a rhythmic source and sonic noise palette unexplored in von Oswald\u2019s repertoire. [\u2026] The focus is not on using one means to imitate the other, but to sonically discuss the tensions and harmonies between the two worlds and create a dialogue between them.\u2019<\/em><\/p>\n This exciting music on Silencio<\/em><\/strong> is reminiscing the work of composers like Var\u00e8se, Ligeti<\/em> and Xenakis.<\/em> This music is meant for an avant-garde-loving audience, for those listeners who are not afraid of trodding unexpected new paths. <\/p>\n