bright duplex ’dangerous celebrities’ free download on austinnitus

and lots more here

foxy digitalis reviews wondrous horse

here
Double bass and piano weren’t used in the recording of this album.
Which is significant, as the list of instruments used makes up four
entire lines of the press sheet (and a considerable part of the liner
notes) and includes just about everything from theremin to Turkish saz,
from violin to shruti box and from xylophone to drum machine. While
such eclecticism isn’t always a good thing, Vanessa Rossetto and
Salvatore Borrelli (aka etre) somehow make it work: The eleven tracks
on “Cavallo Meraviglioso” are given enough room to breathe, even the
meandering eleven-minute track “Ogni intuizione Ë il tangibile segno
del declino” never gets lost on its way to bucolic bliss.


Rossetto and Borrelli hail as an Italian/American duo, but I feel that
they would sit nicely in the Finnish scene as well, what with
Rossetto’s vocals reminding me of Islaja or Kuupuu. Wondrous Horse’s
dreamy free folk really is that good. I’m particularly fond of the
gentle strumming on tracks like – wait – “Il tempo ha posato sei voci
she gridano” but this playful, yet focussed album is enjoyable from
start to finish. Ah, and Valerio Cosi appears on one of the tracks as
well: “Questi Orizzonti Scomparsi” – even their track titles sound like
music! 7/10 -- Jan-Arne Sohns (10 December, 2008)

’fall’ available for free download on bagatellen

“fall” achieves industrial ambiance through strings and whispers, and manages to confound a little. Eleven minutes of evolution is poised for at least another 20. Yet concision is eloquence, and “fall” is mighty effective in that regard. Vanessa’s Whoreson In the Wilderness gets regular play around here, so it’s extra nice to feature her music for “listen”.

Environmental recordings, viola, and cello; Recorded and mastered by Vanessa Rossetto, Austin, October 2008.

available here

collab with barry chabala up at compost & height

From Viola City began life as viola improvisations made in response to environmental sounds in recorded in New York City by Vanessa. Barry took that piece and processed it through a program he wrote in ChucK.

free download here

new piece 'gloria tejana' on homophoni

free download/streaming audio here

massive new 3 disc comp w.2 tracks by me

one mighty acts of god track and one by catrider (me & michael donnelly) and lots of others from a whole lot of people!

here


'Hand Rolled Oblivion' 3xCDr $30(US)
"3 jam packed cdr's containing 52 tracks gathered together over the last two years featuring tracks from mymwly regulars , friends and collaborators from all over this fucked up planet working/walking in the fields of noise , neofolk , psych and experimental music…'this is an epic compilation that will surely create a history and a legend that will reverberate through the long corridors of time from now into forever.' Or not." Packaged in hand assembled , 5 piece card thing.

Disc one: inhibitionists , no guru , catrider , hronir , cadavre esquis , kageplane , lamppukello and the north sea , ThrouRoof , mac temple , terracid , futurians with s.t.u.d. , autumn galaxy , charles curse , wolf skull , mark dagely , soulighters , ffehro , Corsican paintbrush]

Disc two: medroxy progesterone acetate , the golden oaks , innig , ajilvsga , autistic daughters , c.g.o.d. , eastern fox squirrels , jitka , bloom , akhet , mansion , chuffo and the grillers , blank realm , soarwhole , eye baba , mosseisly , 6majik9

Disc two: alligator crystal moth , cja , demented thrugg , dyja , dinmuckf , helen southall , horn and talon , iced bird spiral , mshing , didgebaba , brothers of the occult sisterhood , oriente lux , planadin , the mighty acts of god , the north sea , v , xelaeondion

signal to noise reviews misafridal/ib/witw

signal to noise reviews misafridal/ib/witw

in the new issue! (51, fall 2008)

link to review here

signal to noise magazine

terrascope reviews wondrous horse

Wondrous Horse's "Cavallo Meraviglioso" album is a rich tapestry of instruments, voice and mad percussion, created in the main by Salvatore Borrelli. The feel is otherworldly, the mood bizarre, but it is Vanessa Rossetto's natural/treated voice that makes this music freakily addictive. Weird cellos duck and dive, deraboukahs and tablas rustle and tap, and over some of this Rossetto's seductive voice floats and swirls (Borrelli sings too, less successfully). The track titles are all in Italian, but each is a variation on the main theme. The range of instruments is vast: the sleeve notes list fifty one, some of them multiples. This, then, is an eclectic mix, but it's impossible not to get sucked into the weird and mischievous sound-world, not least because all the songs have a Heath Robinson-esque 'stuck together with tape and glue' charm. Unexpectedly good, this one, dog, cat and duck samples and all...

here

misafridal/ib/witw review on kathodik

read it here

misafridal/ib/witw now available at end of an ear

if you're in austin, tx you can now pick up my albums at end of an ear!

http://www.endofanear.com/






from the 'new arrivals' email:

Rossetto, Vanessa "Whoreson in the Wilderness" CD Homemade sound effects and detuned strings combine to create something that exists somewhere between Tony Conrad and Pierre Henry.

'for quiet room' free download at compost & height

Begun on January 1, 2008, and completed at the beginning of August. Made using very thickly layered environmental recordings made in one seemingly 'quiet' room; no instruments were played. Through the layering, emergent melodies and drones reveal themselves. The idea was to explore the sounds heard in a music room that was idle. headphones are recommended but I have also found the piece works well when played in an active house; the quieter parts blend in with the normal environmental sounds at the location so that the louder parts seem to develop from nowhere and take you by surprise.

free download here

another new book of shadows release with me on it

Mymwly0107 book of shadows – isadora shadow cdr $10

Austin texas produces yet another glorious batch of sublime freaks growing a glooping , pulsating garden of acid fried driftetables and deconstructed space blooms. vast open vistas of echoed out cosmic tones all given depth and dimension by the wandering lonely wails of human women folk , blending all within a dream teetering on the edge of nightmare.

epiro/rossetto on vinyl beards comp

available here

new book of shadows release with me on it

available here



http://www.myspace.com/bookofshadowsaustin

new uton album with me on it

http://www.myspace.com/utonheaven

UTON
radio olio metaphysica!
om ha sva ha ksha ma la va ra yam recordings
OM-07 (edition of 100 copies) 9 euros



first disc recorded in july/august 2007, collecting sounds and tunes together with experimental new methods. from small no-fi dada sounds to space-ambient atmospheres to acoustic pseudojazz to psychedelic moonshine to screaming guitar feedback to violin scratches... making a tour to the mind of what is. second disc, The Book of Beginnigs, is mostly recorded early 2006, and shows the another deep-drone-dream-realm of Uton. few tracks with J.Koho (from Kulkija, Free Players, Tulasi etc.), and also some help from Vanessa Rossetto (Mighty Acts of God, Pulga etc.), Brad Rose (the North Sea etc.), Maxime Primault (Enfer Boreal) and Magnus Olsen (Elektronavn). comes in beautiful silkscreened clothe-sleeves and small booklet.


prices do not include the postage.
write to: aubauzhitou@yahoo.com

misafridal/imperial brick/whoreson writeup on bagatellen

One of the pleasures of following new music is when someone springs up out of the blue (at least, to you), almost fully formed, with no particular connection to any musicians or musical scene of which you were aware, if anything known only as an avatar on a discussion board. For this listener, that happy circumstance occurred in the case of Vanessa Rossetto, a violinist/violist/electronicist from Austin, Texas. These three discs were all recorded in 2007and, though not intended as a triptych of any sort, can easily be heard as such, and a mighty impressive one at that.

"misafridal" opens with some almost idle sounding flicking, presumably of a stringed instrument but abstracted enough to suggest almost any taut pieces of material, from plastic to paper. One of the first magical moments in this music occurs subsequently as rich, dark bowing from the viola enters quite unexpectedly, soon overlaid by field recording atmospherics, either out in the wind or inside some large enclosure, among which plaintive violin pluckings are briefly heard. It's quite evocative and mysterious and sets the table perfectly for what follows as the music caroms between the impassioned string playing and the tapes. While she'll occasionally, as near the beginning of the second track here, play rough-edged quasi-melodies, more often Rossetto fluctuates between freer playing inspired by musicians such as Polly Bradfield and Phil Wachsmann and low drones that recall Tony Conrad but with perhaps a greater emotive range. These drones constitute one of the deeper elements at play throughout the discs, often anchoring farther flung sounds though Rossetto is quite content to abide in a given area for an extended time, wringing out variation upon subtle variation. The third cut here, "eohippus" (Rossetto also has a way with titles), is gorgeous, all slightly splintered but relatively tonal, high-ish drones, one lapping at the heels of the next, with a soft rumble of something, perhaps a rogue field recording, maybe just ambient sound in the studio, beneath. As an album-length suite of sorts, it's not perfect—the fourth track throws in a bit of a wrench with some accordion-like wheezing and disjointed, scrabbling string attacks, but on the whole it holds together beautifully, Rossetto varying both sound and structure within a seemingly narrow plane but achieving great breadth. The closing string piece (three or four overlaid, I think), returns to a fairly tonal character, a wonderful rumination that recalls, just a bit, the bluesy keening of the late Leroy Jenkins while also making reference to early minimalism.

The "middle" disc (they were in fact recorded in the order issued), "imperial brick", consists of seven improvisations on the viola, all laid down on the same day. (One can sometimes make out ambient sound from outside the room, traffic and such, a very nice effect). Here, the connection with earlier free improvising string players is the strongest and this set can be heard as part of the entire tradition of solo performances in that vein, though still the strongest attractor seems to be that of the ornamented drone. As ever, it's a difficult feat to pull off consistently and Rossetto wavers here and there but by and large holds matters together with a sure hand. Not that it's technically flashy, but I admit to being a bit wowed every so often, unable to quite believe that a mere single viola was in use; I get the feeling she has chops to spare. My favorite cut is "The Girlhood of Baba Yaga", once again a drone-centered improvisation, with coiling, smoky tendrils unfurling off the central spine. Though I don't know his work terribly well, I was reminded a good bit of a fine solo concert I saw in Nancy several years ago by Malcolm Goldstein. There's a similar latent romanticism in Rossetto's playing, not woozy at all, but clear-eyed with a dash of harshness and possessed of a striking vocal quality. While I can't say I'm the most knowledgeable fan of the genre (solo string improv), I do have very fond memories of seeing Jenkins playing alone at Washington Square Church in the late 70s, an amazing performance. This session, at its best, isn't far short of that or the Goldstein.

But Rossetto saves the best for "last" with "whoreson in the wilderness", a title out of Cormac McCarthy. It opens with a thrilling quartet (? I actually have no idea how many violins and violas are involved) that spirals up into a dizzying column of sound complete with what sounds like feedback. Indeed, that feedback initiates the next track, "myself with water", in my opinion the finest track from these three discs and one of the single strongest pieces of music I've heard over the last year, period. An eruption of clatter ensues, soon embedded in that recurrent low, creamy drone, pulsing along at a relatively rapid pace. These, in turn, subside into a crystalline, delicate mesh of high arco and electronic tones, with metal scrapes weaving through, morphing into keening, birdlike wails. Specific sounds aside, the structure of pieces like this one is hugely convincing; more than once, in this respect, I was reminded of Olivia Block's constructions, heady company to be sure. "stale cream moon" is more composed, a lovely mix of groaned low tones and march-like middle ones with a sorrowful, chorded middle plaint. The sawing grows more and more frantic on "impending shark music", verging on derailment, Rossetto in full maximalist mode. She takes things out with a marvelous funnel of taped sounds and strings, an intense eddy of echoic, metallic swirls, those deep string drones and insectile chirps.

As I said above, very impressive work, beautifully conceived. It held my attention throughout and provided more than a few thrilling moments. Highly recommended.

--Brian Olewnick

link