Emiliano Romanelli, 333 Loops (Volume 1), Terziruolo # 02, 2014

Recorded live at the cloister of Ex Convento dei Cappuccini, Colli del Tronto, Italy as part of Within 01 festival, on Friday 13th September 2013, 10:45 PM.

Emiliano Romanelli: 333 loops, computer with custom software, usb audio interface, mixing board, quadraphonic sound diffusion

“The future is a monotonous instrument.”
— Francis Picabia

333 Loops (Volume 1) is the first chapter of a CD/DL live series, which documents the sound events generated by the homonymous modular system, designed in 2011 by the Italian musician Emiliano Romanelli.

The system is composed by an archive of 333 pre-recorded sound loops, produced between 2008 and 2011 by a sound synthesis software played in different acoustic environments, and documented mainly with internal microphones of several digital and analog portable recorders. Subsequently, by a custom software (2 loop players, 2 EQs, 4 delays, 1 digital room reverb, 4 LFOs), the loops are used as modules in a random process of juxtapositions (A//B) and multiplications (333²), able to generate live 110889 sound events to be diffused in the room via a multichannel sound system. 333 Loops as a possible field of investigation, lasting between 110889 seconds and 110889 years.

The Volume 1 is the stereo documentation of the quadraphonic live performance at the medieval cloister of Ex Convento dei Cappuccini, Colli del Tronto, Italy as part of Within 01 festival, on Friday 13th September 2013, 10:45 PM. This album also represents Romanelli's live and discographic debut, after over 13 years with the multimedia duo Tu m' (1998–2011).

Emiliano Romanelli, 333 Loops (Volume 1), Terziruolo # 02, 2014

“[…] I couldn't hear any evidence of a generative system in play – the rules of the game, so to speak, were not immediately audible, nor did I feel that the music's aim was to make them so. Rather, this is the sound of an experienced master of ambient music at work: refined and well developed, meditative and enveloping, the piece nonetheless sounds fresh, inventive, even surprising. Those who have accuse ambient music of having run out of new ideas would do well to give 333 Loops a listen.”
— Nathan Thomas for Fluid Radio

“[…] Emiliano Romanelli's work is similarly an exploration through perception, and like Newman's painting 333 Loops requires an active engagement on behalf of the audience.  Many works make demands,  but works of subtly are merely open to use, take it or leave it. It's all too easy to casually encounter a work of art and presume to know it. It's another thing to slow down and give it the time to reveal itself.”
— Joseph Sannicandro for A Closer Listen

“[…] A pulse is occasionally felt, though more a kind of rotational recursion, like a musicized Calder mobile. A kind of glassine dream mesmerism emerges, as Romanelli holds back on sending in the ambient clouds in favor of a more thinly diffused vaporousness, sustaining a more lowercase minimalism of means redolent of earlier Tu m' work (cf. Monochromes Vol. 1). There's something strangely eerie about it, a feeling further cemented by a Picabia quote, ‘the future is a monotonous instrument’, whose sinister resonance tells of possible dystopian traces beneath a deceptively serene skin.”
— Alan Lockett for Igloo Magazine

“[…] It's like the flow of water filmed in slow motion, a chaos of intricacy rendered elegant, generating life through surges of deliberate, unforeseeable movements. There is no root from which the sound originates, and 333 Loops levitates above all notions of ‘correct’ orientation and fixed beginnings.”
— Jack Chuter for ATTN:Magazine

“[…] tranquil and open sound fluids able to take perception into sublime fields, submerging the ears into an atmosphere that you don't get to remember because it remains floating in a place between the silent ghosts of the past and ‘the monotonous sound of the future’. An endless listening.”
— Miguel Isaza for Infinite Grain

“[…] once in a while, I'm just as immediately captivated, as is the case here. I'm pretty certain it has something to do with perceived depth of field which, in this instance, is interesting as the layers seem to be composed of elements without very high degrees of contrast (no rough rumblings under smooth surfaces, for example) but instead there seem to be multiple strands that are constricted into a reasonably narrow spectrum. Yet it works.”
— Brian Olewnick for Just Outside

“[…] Not forcing it upon the listener, but rather filing up spaces. It's surely excellent music and I enjoyed it”
— Frans de Waard for Vital Weekly

“[…] an immersive, persuasive and spiritual work that is easy to dive into.”
— Aurelio Cianciotta for Neural

“[…] Despite being so hot-wired, generative music never sounded less artificial. It is a sublime ambience more absorbed than heard, the sound of all of us dissolving into our yearned-for innate amity.”
— Stephen Fruitman for Avant Music News

“[…] Un très très bel album, à conseiller à tout amateur d’ambient minimale.”
— Fabrice Allard for Ether Real

“[…] Et c'est ce lien fort entre l'architecture et le son qui fait que l'on se laisse facilement envouter par ce disque. Car même s'il est proche d'un album d'ambient chiant, il y a quand même quelque chose de beaucoup plus fort et de beaucoup plus pertinent, quelque chose d'imperceptible qui réside dans ce lien fort qui unit un son et l'espace dans lequel il vit. Emiliano Romanelli utilise ainsi des techniques de compositions aussi bien que des samples simples, mais avec une finesse et une sensibilité à la matière sonore qui permettent de se laisser vraiment absorber par ce qui se passe, par toute la vie sonore et architecturale qu'il nous présente.”
— Julien Héraud for dMute

“[…] Un documento de cómo el sonido creado a partir de fragmentos del mismo produce una obra de arte superior desde un sistema autónomo. Con este trabajo Emiliano Romanelli desarrolla una música en desplazamiento permanente y donde es posible apreciar la desintegración del ruido en medio de las fisuras de su melodía infinita. 333 Loops (Volume 1), un campo de búsqueda aural en la luz de tonalidades espectrales.”
— Patricio Badaracco for Hawái.

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