The Italian duo annalized_noiose presents a set of experimental sound, noise, feedback and vocal improvisations in the local Sardinian language.
annalized: voice, distortions, tapes
noiose: snare, effects, no-input mixer
Annalisa Pascai Saiu is a Ritual performer, poet, singer, improviser, visual artist, independent and underground curator and also organizer of NOISE DELIVERY and PROGETTOHECATE. The artist has made her own the tradition of Sardinian improvising poets, and the flow of sound, is a storytelling in which she tells mythological stories, connected to traditional Sardinian tales, magic formulas, prayers, philosophical, mystical, theological theme. Sometimes ironically, about herself, if she were a man, always within the ritual framework, which then leads her to weave songs, now improvised on Byzantine scales or Indian Raga, with her own invented language that she received in a dream (like Tolkien’s glossolalia), now psalms in biblical Hebrew or some hymns in ancient Greek, rather than prayers or formulas in the Sardinian language. So she alternates and mixes her language with biblical Hebrew, ancient Greek and Sardinian language in a flow that is always improvised and site – specific, attentive to what comes from the place, both subtly and physically.
Emilio Bernè (a.k.a. noiose) is a musician, drummer and performer from Italy. Noiose has origin in the combination of deconstructive techniques beside the idea of glitch simulation with the authenticity of the individual psychism. More specifically is in the absence of drum codes that this work has emerged, where new tricks are often discovered by accident or by the failure. Technical errors and artifacts have become the aims for this set reduced to a minimum amount of information that allow to play with more concrete results. Starting from this axiom, the NOIOSE performance starts from an absence of pre-established language, from the destruction of the usual drum and percussion codes, overturning all logic. In fact, the musician who has now become a performer stands up or kneels on the ground, completely abandoning even the normative posture of the instrument used, now reduced to an almost robotic set, closer to a Post-Human work than to a drum kit. He himself moves now fast, now slow around this infernal intonarumori machine.