Dedicating his album to Paul Burwell and Z'ev, Spanish percussionist Paolo Sanna demonstrates his many years of research in sound, silence, noise, experimentation, musical research and deconstruction through standard percussive devices and found objects, giving his playing a distinctive and personal palette which he plays with superb technique and timing.
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Label: Creative Sources
Catalog ID: cs525
Squidco Product Code: 25805
Packaging: Cardboard Gatefold
Recorded at P@SoundWorkshop Studio in Sardara, Spain, during winter 2018, by Tom Riethauser.
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• Show Bio for Paolo Sanna
Paolo Sanna: Drummer/Percussionist. Sound performer. Independent artist. Musician, Improviser & selfnoisemaker... Drum/percussion teacher. He is interested in the sound, silence, noise, experimentation, musical research and decontraction. He plays Prepared Drum/Percussion set, Objects and...MUSICAL PROJECTS:
* Paolo Sanna - Percussion Solo
* OnGaku2 - Elia Casu / Paolo Sanna Duo.
Paolo Sanna: Prepared drum set / Percussion.
Elia Casu: Prepared el.guit / electrons.
* Collettivo di Resistenza Culturale.
Paolo Sanna, Elia Casu & Musicians...
* OKRA Percussion Project.Conducted by P.S.
* SOUND ACTION
*Giacomo Salis / Paolo Sanna Percussion duo.-Paolo Sanna Website (http://paoperc.wixsite.com/paolosannaperc)
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3. Untitled 5:23
4. Untitled 0:39
5. Untitled 2:49
6. Untitled 6:59
7. Untitled 6:34
sample the album:
Dedicating his album to Paul Burwell and Z'ev, Sardinian percussionist Paolo Sanna demonstrates his many years of research in sound, silence, noise, experimentation, musical research and deconstruction through stand percussive devices and found objects, giving his playing a distinctive and personal palette which he plays with superb technique and timing. The third track (all are untitled) is recorded in accompaniment to a field recording from the Placenza train station, over which Sanna improvises; this is more in keeping with Sanna's other project, My Problem Child, which finds the percussionist working with electronics where the percussionist is focused on the construction of narratives designed to build an ideal bridge between sounds and images. Some pieces use reverberation to build voluminous clouds around his playing, while others are intimate and direct. The longest pieces clock in around 7 minutes, the shortest at 39 seconds, each piece intended to elucidate his ideas without overstaying their welcome. The last piece uses modern shortwave recordings that about halfway through are replaced with rapid-fire percussive elements, ending the album on an unusual beat that leaves the listener wishing for more. With a recording discography going back to 1996, Sanna has a clear idea and an diverse set of approaches to percussion, making this a fascinating and enjoyable album as unique as the unnamed instruments he uses.
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