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Nuova superficie

The duo of Lami-Malatesta is based upon an active idea of horizontal actions in progress, that slowly change and melt over the course of the performance. Sound originates from several speakers and – in general – from different diffusion points, amplified or not, analog or acoustic, in a non-referential movement. The one and only need is to produce a simple sound-mass, seemingly static but unceasingly evolving through the labour of the musicians. They use their own instruments (as form and gesture) mainly on the surface, moving objects and working upon the skin of an amplified snare or directly in contact with the tape of the reel-to-reel recorder, trying to activate what is already present there but quiescent.

The aim is to realize a complex sound-space where each listening-experience can be free to evolve and wander and get lost. The sound is made from several diffusion points and is defined by sounds on the cusp of a dense texture, really homogeneous yet rich in detail and micro-perturbations. This non-stop negotiation between details on the horizon and the horizon itself, this lack of balance, and the interaction with the space hosting the performance is the base of this project, that could be considered as something in between electroacoustic music and site-specific action.




March 01, 2019 – Centro d’arte, Padova (I)

January 12, 2019 – Cave12, Geneve (CH)

June 16, 2018 – LaDigestion Festival, Napoli (I)

July 15, 2017 – Santarcangelo Festival 2017, Santarcangelo (I)

July 09, 2017 – Santarcangelo Festival 2017, Santarcangelo (I)

June 18, 2017 – Festival della Fiaba, Modena (I)

May 22-28, 2017 – production residency /Apache Festival, Milano (I)

October 22, 2016 – NODE Festival, Modena (I)

September 29, 2016 – San Michele Off, Bagnacavallo – Ravenna (I)

September 18, 2016 – Paradoxes, Ravenna (I)

July 16, 2016 – Santarcangelo Festival, Santarcangelo (I)

Nuova Superficie teaser


On the meditation about the arrangement of sound events and layering them on the timeline I-V (2017)

I realized that it can take other forms, others then the one imposed. Not just a section, but a circle or an ellipse, a closed path where you may see a cyclic repeat of events where not everything has a beginning and an end.

So, impressing /recording these events on the tape does not happen in a linear way, but through changes of direction, slowdowns and disconnections between the time the event happens in the real and its repetition on the new timeline. It’s still linear of course, but internally configured by successions of recurring sound-germs, arranged on different levels and filtered in a different ways. It’s like a patina laying on the renewed patina, on a renewed patina, on the renewed surface, recorded on tape.

Curling / Crumpling

There is a perfect match between hysteresis (concept) and this kind of practice: both are in the field of reality, and both are related to objects (physical objects, sound objects, living things).

$and / ßand

Hysteresis I

Hysteresis II

Hysteresis III

Hysteresis IV

Se la farfalla al suo splendor ameno vola, non sa ch’è fiamma al fin discara; se, quand’il cervio per sete vien meno, al rio va, non sa della freccia amara; s’il lioncorno corre al casto seno, non vede il laccio che se gli prepara. I’al lume, al fonte, al grembo del mio bene, veggio le fiamme, i strali e le catene. S’è dolce il mio languire, perché quell’alta face sì m’appaga, perché l’arco divin sì dolce impiaga, perché in quel nodo è avvolto il mio desire, mi fien eterni impacci fiamme al cor, strali al petto, a l’alma lacci. (Giordano Bruno)

Hysteresis II

Hysteresis IV