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EDOARDO CAMMISA

Flux

Flux is aimed at contemplating nothingness and its manifestations.
Please listen to this work while doing nothing with a good pair of headphones; midlow volume suggested. Let the sounds surrounding you blend in with the recording.

Every single sound that can be heard in this work was self- or environment-generated.

Tools: hydrophone, binaural and contact microphones, magnetic tape, broken walkman, sine and triangle waves.

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Catalog:
LINE_114
Format:
digital
Edition:
open edition
Release:
September 2020
Tracklist:

1. Towards a Flux (8:54)
2. Flux (41:46)

Composed (2014-2020) and mastered by Edoardo Cammisa.
Photograph by Caterina Lani.
Thanks to Richard Chartier, Luigi Turra, Emile Bojesen, Angelo Guido and Camilla Pisani.

Edoardo Cammisa is a northern-Italy based sound artist active since 2013 primarily known for his more emotion-driven project Banished Pills. His main interest is to explore the perspectives of the difficult relationship between sound and silence through digital tools and physical objects.

His solo and collaborative works can be found on LINE (US), Shimmering Moods Records (NL), Cathedral Transmissions (UK), Hemisphäreの空虚 (AU) and several other labels. He is collaborating with “Museo Alessandri” museum in Giaveno, Italy as soundtrack composer.

In 2017, he founded the label Sounds Against Humanity, devoted to experimentalism and research-oriented concrète music.

REVIEWS OF
Flux

  • Accantonato per il momento l’abituale alias Banished Pills, Edoardo Cammisa propone a proprio nome un consapevole percorso di ricerca sonora, sviluppato attraverso una varietà di nastri, oggetti e microfoni. Si tratta di poco più di cinquanta minuti, ripartiti in un più conciso prologo e in un “flusso” di lunga durata, che esplorano la relazione tra suono e silenzio in un ambiente a pressione negativa.
    (musicwontsaveyou.com)

  • as ambient as ambient gets
    (acloserlisten.com)

  • Una graduale immersione in un profondo e riverberante nulla. Temporaneamente dismesso lo pseudonimo Banished Pills a cui affida le sue derive più intime ed emozionali, Edoardo Cammisa sceglie il proprio nome per introduci nel suo personale percorso di ricerca, proponendo un suggestivo itinerario sonico che ha come principale intento quello di invitare ad un ascolto attivo e partecipato.

    Plasmato attraverso una materica sequenza di risonanze ambientali, catturate utilizzando diverse tipologie di microfoni, a cui si sommano rumori autonomamente estratti da nastri e generatori di onde, il lungo e sussurrato tracciato si sviluppa quale evocativo canovaccio a cui a ciascun fruitore è richiesto di aggiungere immagini e suggestioni derivanti dall’interpolazione dei rumori che casualmente interferiranno durante la navigazione. Quel che viene offerto è un viaggio volutamente indefinito a cui si viene preparati dai quasi nove minuti introduttivi di “Towards A Flux”, ruvido ed irregolare prologo che proietta verso il vero e proprio nucleo narrativo fatto di sature frequenze dall’incedere placido e profondamente ipnotico.

    Abbandonandosi al flusso, l’obiettivo è quello di raggiungere una vera e propria trance di origine auditiva che si tramuti in peregrinazione sensoriale capace di dare forma e consistenza ad un vuoto quanto mai denso e vitale.(sowhatmusica.wordpress.com)

  • I was on the point of writing this review while listening to this release by Edoardo Cammisa (also known as Banished Pills), when I realised I had to stop typing to follow the suggestions by its author in order to appreciate the listening experience as much as possible. He or maybe Richard Chartier, mentor, curator and owner of LINE imprint, warmly recommends doing nothing but listen, as Flux is purposefully “aimed at contemplating nothingness and its manifestations”, so that it’s recommended to do nothing while using a good pair of headphones and listen to the release at a mid-low volume level. The nine minutes lasting incipit “Towards a Flux” begins by one minute of snapshots rendered through field recordings, preceding a ghostly haze of distant pads, where other entities and field recordings of distant voices or physical actions resurface little by little (some of them sound more like captures of hydrophones), as if they were moments getting out of a mnemonic pool, before getting dissolved in the above-mentioned nothingness. The full-fledged “Flux” is a sonic trip of more than 40 minutes, where the suggestion by the author makes sense as its immersive effect cannot be really appreciated if you’re doing anything else that could distract your mind from the sonic source. A rough reminiscence of a loop can be rendered by a sort of buzzing noise of some electric system, permeating the first third of the track, but many changes and many seemingly weird entities will appear within the fences evoked by this hypnotic buzz. The low level of volume of the first minutes can make you feel noises generated by your own body or slight noises from the environment and their apparent merge with Edoardo’s “Flux” can be part of the listening experience as well. The frequencies, that will appear and draw cycles around the listening sphere of the audience over the track, can be imagined as fibrous parts that gradually detaches from the main core to wrap the listeners by other mental images and feelings. Do nothing and listen then!
    (chaindlk.com)