Lemures / Lemuria
Crónica

/2013

Lemures animas dixere silentum
Ov. F. 5, 483.

The Lemuria was a feast in the religion of ancient Rome during which the Romans performed rites to exorcise the malevolent and fearful ghosts of the dead from their homes. The unwholesome spectres of the restless dead, the Lemures. (wiki)

"The description, ultimately, of a “mental landscape”, as defined in the founding manifesto of the Lemures project, in which the complex interplay between subject and sound objects becomes a complex game of associations, reflections and reverberations, suspended between a denotative approach and a non-linear narrative." Leandro Pisano

Just 100 copies on 180g black vinyl LP12″ 33rpm.
Released 05 November 2013.

Composed by Giovanni Lami and Enrico Coniglio.
Mastered by Miguel Carvalhais.
Illustration by Dead Meat.

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reviews

Blow Up / 2014

Il duo composto da Enrico Coniglio and Giovanni Lami utilizza field recordings ed elaborazione digitale per creare soundscapes dai toni avvolgenti estremamente dilatati, che spesso si espandono sino a lambire i territori dell’ ambient. In “Lemuria” la cura del dettaglio nell’ opera di tessitura elettronica si coniuga con efficacia al flusso impressionista generato dalla progressiva stratificazione delle diverse fonti sonore, dando vita a quattro movimenti dalla forma molto curata e nitida. M. Busti

Fluid Radio / 2014

Lemures is the duo of Enrico Coniglio and Giovanni Lami, both members of the collective AIPS (Archivo Italiano Paesaggi Sonori, or the Italian Archive of Soundscapes) and contributors to the Postcards from Italy project. They take their name from the same Roman spirits of the dead after whom Carl Linnaeus named a species grouping of Madagascan primates; the album title “Lemuria” refers both to the ancient Roman festival in which ancestral spirits were placated, and the theoretical lost continent proposed by nineteenth century zoologists to explain how the fossils of certain primates could be found in Madagascar and India but not in Africa or the Middle East. Coniglio’s “noWHere manifesto” for live performance has recently been translated into English over at A Closer Listen; while it’s not clear whether Lami is also a signatory, a second manifesto published on the Lemures website clearly states that “real-time processing of strictly “raw” field recordings” in live performance is at the project’s core. That “live” element is by no means directly perceptible in these two recordings, which together constitute a diptych. Also uncertain is the line between processed and unprocessed sounds, in other words those heard as they would have sounded “in the field” and those that have been transformed or “chiselled” by the duo’s real-time electronics. This is true as much for the quiet, ‘natural’ soundscapes as much as the clattering ‘industrial’ ones. The processing — or rather, the succession of multiple choices to process or not to process — thus reveals the sculpting and modifications already present in the ‘unprocessed recording’, the way situations sculpt themselves through conflations and aggregations of human and non-human processes and activities. The way the sound of water is modified by the stone channel through which it gushes, for example, but also the way the water erodes the stone, thus further modifying its own sound. From this perspective, the project takes static, fixed recordings and, through the liveness of live performance, makes them resemble the dynamic, constantly changing environments of which they are fossilised traces. Spirits of the dead indeed. What is heard, then, is Coniglio’s home town of Venice — which is to say that what is heard is the world. Venice appears to the tourist as a timeless preserved relic, taxidermied medievalry in an ethnographer’s bell jar, yet a more precarious and fast-eroding environmental situation can scarcely be imagined. The clarity with which the city presents this double image, of the museum exhibit and of the impending cataclysm that is in fact already here, is what makes it such a lucid synecdoche for the world in general as it undergoes geologically rapid climate change. This same doubling is heard in Lemures’ ‘dead’ field recordings that are now also ‘live’ (and killed again in re-recording, and re-animated again in playback and listening). The microphone kills what it captures, yet what is dead comes back to haunt — only this time not as a symptom of the mourning experienced by the peddler of verisimilitude, but as a critical invocation of a concrete situation. Catastrophe inheres not in the violence or otherwise of the music itself, not through the carefully orchestrated evocation of emotion, but in the way the work reveals the simple fact that everything is already changing. This fact is then thrown in a distinctly political direction. Nathan Thomas

The New Noise / 2014

“Nelle credenze religiose di Roma antica, anima o spettro vagante di defunto che tornava sulla terra per molestare i vivi”. Così dice il mio Zingarelli del lemure, mentre apprendo da Wikipedia che le “Lemuria” siano delle cerimonie dell’Antica Roma attraverso la quale esorcizzare i morti. Dietro a questo progetto troviamo Enrico Coniglio, ormai sound artist di lungo corso apparso su un sacco di etichette che amiamo, e Giovanni Lami, visto/sentito un paio d’anni fa su Fratto9 col nome di Terrapin. Entrambi partono quasi sempre dal paesaggio e dai field recordings. Qui, in ossequio forse al nome maligno che si sono scelti (i loro presupposti teorici sono di certo più profondi), slittano progressivamente in un altro mondo, pur avendo iniziato a muoversi in una costruzione semi-abbandonata nei dintorni di Ravenna, città cara a un altro field recorder (e fotografo come Lami) italiano, Adriano “Punck” Zanni. A un certo punto, suggestionato dal fatto che Enrico e Giovanni menzionino Ovidio e i “Fasti”, nei quali si parla anche delle Lemuria, mi sono fatto l’idea che i rumori degli oggetti e delle cose, qui, suggeriscano lo svolgersi di qualche rito, prima di lasciare spazio a suoni astratti che rappresentano l’apparizione di un “altro” inconoscibile. Uno dei punti di forza del disco è proprio questo senso di vertigine che si prova nel passaggio tra realtà, anche ordinaria, e non-realtà, a tratti abrasiva e spesso deprimente/mortifera come solo i cari vecchi gruppi Cold Meat Industry sapevano essere, ma senza la benché minima comunanza con qualsivoglia cliché horror, gotico o grandguignolesco. A me questa virata onirica sta più che bene. Date un “giro” a questo disco sulle varie piattaforme virtuali, mi sa che potrebbe star bene pure a voi. Fabrizio Garau

Rockerilla / 2013

L’incessante ricerca di Enrico Coniglio di una rappresentazione auditiva di luoghi abbandonati ha condotto l’artista veneziano nel ravennate, dove insieme a Giovanni Lami ha gettato le basi del suo nuovo esperimento di paesanismo sonoro. Nelle quattro tracce di Lemuria i due hanno cristallizzato un universo di echi e frequenze più o meno disturbate, catturate secondo una logica accidentale e in seguito giustapposte alla stregua dei vari elementi di un paesaggio. La risultante topofonia costituita da saturazioni, frammenti liquidi ed evanescenze statiche non si limita a fotografare l’ambiente di “coltura sonora”, rielaborandone invece i frammenti in un esemplare unico di soundscaping. Raffaello Russo

Monsieur Délire / 2013

Je préfère l’approche électroacoustique de Lemures (Giovanni Lami et Enrico Coniglio) à celle de Rafael Anton Irisarri: événements sonores disjoints qui se rencontrent sur un fond de bruitisme sinusoïdal. Moins cinématographique et plus confondant, chose que j’aime. Objets sonores, enregistrements de terrain, dispositifs électroacoustiques qui donnent aux quatre pièces un air hybride entre la musique concrète de studio et l’improvisation électroacoustique. François Couture

Revue & Corrigée / 2014

Entre musique concrète et improvisation, cette collaboration de Giovalli Lami et Enrico Coniglio nous plonge dans une paysage sonore sombre, poisseux et superbe. Lemuria était une cérémonie propitiatoire romaine destinée à apaiser les spectres, les lémures. Le duo privilégie avant tout les performances live: des enregistrements de terrain bruts sont traités et assemblés en direct pour créer de nouveaux territoires sonores. C’est cette approche que confère à Lemuria son caractère si particulier. Les deux artistes ont notamment utilisé des prises de sons réalisées dans un bâtiment à l’abandon en périphérie de Ravenne… mais ce sont des éléments d’univers disparates qui peuplent l’album et s’y entremêlent comme dans un rêve. Yann Leblanc

Beach Sloth / 2014

Lemures make industrial field recordings. Far from these evoking some sort of pretty pastoral scene they are harsh unrelenting explorations into the dark underbelly of machines. Thanks to the intensity of the vision there is hardly any relief from these foreboding soundscapes. Aspects of it do focus on the natural when necessary but even these fleeting moments are relatively hopeless. By staying consistent throughout nearly the four expansive passages the listener is forced to confront the sounds that often escape attention. In a way it is a celebration of the ugly ambient noise that surrounds everyone. Only here it is amplified. ‘II’ grates at the ears with random effects that spin out of control. Digital processing is extremely strong on this particular track. For the first three minutes these noises are completely left alone. When an actual motor arrives to give the piece some context it is greatly appreciated even given the mechanical nature. ‘I’ takes an anxious approach to sound design with greatly unstable pieces flirting with outright chaos. Eventually the chaos does arrive at the very end in bitterly harsh angry static. ‘III’ offers a rare melodic glance. Surrounded by light ambient sounds it builds up into a large swell similar to that frequently used by Fennesz. Pleasantness fades away after a while revealing a positive maelstrom at the end. ‘VI’ ends the album off on a relatively mellow note. Though it is not outright beautiful there is something charm about its restrained mechanical hum. Unlike the previous tracks there is no sudden increase in volume or distortion. It simply chooses to fade out like the ambient noise the entire collection celebrates.

Son of Marketing / 2013

Lemures è il progetto che coinvolge il sound artis veneto Enrico Coniglio e Giovanni Lami, field recordist di Ravenna. E’ in streaming il nuovo 12” intitolato Lemuria. Il loro incontro ha prodotto un suono elettronico astratto e minimale, che pone un’attenzione particolare agli spazi. Un suono di ricerca frutto di intense sessioni di registrazione tenute in una struttura semi-abbandonata nei pressi di Ravenna. Nella descrizione che accompagna lo streaming si parla di Mental Landscape: “The description, ultimately, of a “mental landscape”, as defined in the founding manifesto of the Lemures project, in which the complex interplay between subject and sound objects becomes a complex game of associations, reflections and reverberations, suspended between a denotative approach and a non-linear narrative. If you think about the different focal elements of the acoustic research, for example the soundscape of the margin areas, the formal aspects of the landscape, the “topophonic” hybridizations, it is easy to see that this work represents a real turning point for Lemures. It reinforces the reasons for a specific method of treatment sound and simultaneously opens two new paths for the future, on the “crest of the border”. Nicola Orlandino