Tag: francesco de gallo

Ex Libris // New Canadiana :: The H and Madison Dinelle – On Organization

Weird_Canada-The_H_Madison_Dinelle-On_OrganizationWeird_Canada-The_H_Madison_Dinelle-On_Organization-thumb

These bleeps from the deep mark a transition for Francesco De Gallo and Jesse Osborne Lanthier, shifting from harsh realms to kosmische, electroacoustic to outsider techno. On Organization, an A/V collaboration with photographer Madison Dinelle, dissects their process of creation and deconstruction in sleek monochrome. Of course, the duo has since moved on to new sounds and aliases, continuing to scrape away at the vast unknown.

Ces bips des profondeurs marquent une transition pour Francesco De Gallo et Jesse Osborne Lanthier, qui passent du criard au kosmische, de l’électroacoustique au techno étranger. On Organization, qui est une collaboration audio-vidéo avec la photographe Madison Dinelle, dissèque leur processus créatif/déconstructif en monochrome épuré. Depuis, le duo a bien évidemment poursuivi sa route vers de nouveaux sons et de nouveaux noms, grattant inlassablement devant l’immensité de l’inconnu.


The H and Madison Dinelle – Chaos


The H and Madison Dinelle – Balance

Weird_Canada-The_H_Madison_Dinelle-On_Organization-Inside

New Canadiana :: Hobo Cubes – Untitled C.90

Weird_Canada-Hobo_Cubes-Untitled_C90

Our headmaster dwells in a cement palace called Sewer Club. Bugs crack through our toes as we are sent to the meeting point. Dripping pipes scratch our fetish of morbidity and churn our soul. The sullen beats of our rat ancestors become more audible and weave in and out of our sensory perception. Six-foot tall cockroaches are dancing in the middle of the sewer to the bass drum’s pulse. Let us be formless in this dark, scum-covered cave once the sacrifice has commenced.

Notre chef habite un palace de ciment appelé le Sewer Club. Nos orteils écrasent des bestioles en cheminant vers le point de rencontre. Les tuyaux dégoulinants chatouillent nos fétiches morbides et barattent notre âme. Les bêtes solennelles, nos ancêtres rats, se font entendre de plus en plus, ondulant à la limite de notre perception sensorielle. Des coquerelles de six pieds dansent au milieu des égouts, suivant les pulsations de la grosse caisse. Laissons-nous devenir informes, dès que le sacrifice commence, dans cette cave crasseuse et obscure.

Hobo Cubes – I [excerpt]

Hobo Cubes – IV [excerpt]

New Canadiana :: Body Lvl // Hobo Cubes – Split

Weird_Canada-Body_Lvl_Hobo_Cubes_Split

Francesco de Gallo joins Will Kaufold and Mehta Youngs for a journey into astral projection. Body-numbing swells of synthesis propel for a mind-massage and murmuring field recordings stir the pot to create a prerequisite for the full-cleanse ritual. Reverberated bells ring over rhythmic machinery while we are met with a blooming guise. All frequencies begin to disintegrate. There is no rest for the weary as we fall deep into our trip.

Francesco de Gallo s’associe à Will Kaufold et Mehta Youngs le temps d’un voyage astral. La houle engourdissante de la synthèse pousse à un massage de l’esprit et les champs murmurent des enregistrements qui brouillent les cartes pour créer les conditions nécessaires à un rituel complet de purification. Le son des cloches résonne plus fort que la machinerie rythmique pendant que nous nous retrouvons face à des formes qui s’épanouissent. Toutes les fréquences commencent à se désintégrer. Impossible de se reposer malgré la fatigue alors que nous nous enfonçons dans notre trip.


Body Lvl – Greenery (excerpt)


Hobo Cubes – Semblance, Is Ripe With Blooming Gestures (excerpt)

New Canadiana :: Hobo Cubes – Apex Ideals

Hobo_Cubes-Apex_Ideals

WC OG Francesco de Gallo sets down 12 inches of arachnidian mind-massage for the second time in less than a year. The warble-jam haunted house plunderphonics of his Ala Vjiior alias are replaced here with something subtle and formless, yet the lingering neck-chills continue to pulse and bleep from the cracks. “Structures in Stasis” plays Bloody Mary with the circuit-bent Speak & Spell spirit of Cthulhu, summoning the gatekeeper into this rainbow netherzone.

Pour la seconde fois en moins d’un an, Francesco de Gallo – un vieux de la vieille chez Weird Canada – met en place 12 pouces de massage cérébral arachnéen : un album subtil, aux contours flous, dont les frissons persistants le long de l’échine continuent de jaillir des fissures sous forme de bips et de pulsations, et qui vient succéder au magma grésillant qui hante la house-collage possédée de son alias Ala Vjiior. « Structure in Stasis » joue à Bloody Mary avec l’esprit de Dictée Magique trafiquée de Cthulhu, suppliant à genoux le gardien de l’entrée de ces abysses multicolores.


Hobo Cubes – Unit


Hobo Cubes – Structures in Stasis

New Canadiana :: Ala Vjiior – Clocks

Ala Vjiior - Clocks

Ala Vjiior is Hobo Cultist Francesco de Gallo’s un-hinged exploration of appropriation music. Warped vinyl is processed, tapes are flipped and reversed. Sound is profoundly altered in a way no concrete poetry can express. Clocks is appropriately abstract as it explores beginnings and ends, shifting and skittering through a variety of moods. At times the tense tones seem to be vying to score Cronenberg’s next body-horror before slowly easing into what might be an eco-acoustic study of the far future. A perfect recording for losing yourself.

Ala Vjiior est l’exploration sans bornes d’emprunts musicaux à laquelle s’est livré Francesco de Gallo, de Hobo Cult Records. Le traitement du vinyle voilé ainsi que les bandes magnétiques renversées et inversées altèrent le son d’une manière si profonde qu’aucune poésie concrète ne peut l’exprimer. Clocks est abstrait à souhait, car il glisse sur la palette d’humeurs qu’il explore d’un bout à l’autre. Parfois, les tons lourds semblent se disputer la trame sonore du prochain musée des horreurs de Cronenberg avant de s’amenuiser peu à peu vers ce qui pourrait être l’écologie sonore d’un avenir lointain. Bref, c’est l’enregistrement rêvé pour s’oublier.

Ala Vjiior – The Last

Ephemera :: Francesco de Gallo on Hobo Cubes // Taiwan Split 12″

Francesco de Gallo on Hobo CubesFrancesco de Gallo on Hobo Cubes (thumb)

The dogma of slowing right down is at the root of the symphonic revelation that is Hobo Cubes’ Francesco de Gallo’s recent work. The new sound is an experiment in deliberate unhurriedness. Inspired by artistic connections, de Gallo paired up with Edmonton’s Taiwan to release a 12” split. Things that are independently constructed can merge together in magical ways. Fully succumbing to the wayward spirit of collaboration, the 12” released by Toronto’s Pleasence Records demonstrates physical proof of this phenomenon in the fluid conjoining of artists — but also in Hobo Cubes’ approach to his contribution. Through the involved process of collaging, deconstructing and layering, intricate soundscapes emerged. And although this variegated sound occupies a world of its own, we indulgently explored the nexus of “stuff” that contributed. Align your senses. Listen to this track while you float through these gorgeous photos.

Hobo Cubes – The Hourglass

 

Labyrinths by Jorge Luis Borges

Francesco de Gallo on Hobo Cubes - Luis Borges

My friend Ryan lent me this Borges book before I knew his writing at all. It doesn’t really directly have anything to do with the album but I just feel like after I read this I had a different state of mind. I wanted to go into more minimal but deeper sounds conceptually. Borges’ stuff is super illustrative but almost abstract. Also, I just love labyrinths and the concept of the maze. Maybe this marked the beginning of the slowness in my life. I recently found this copy for sale and it has the same cover as the one my friend lent me.

Synthesizer (Roland JX-3P) // Controller (PG-200)

Francesco de Gallo on Hobo Cubes - Synth

I bought the synth from a guy in Montreal. It had been in storage for 10 years and I bought it really cheap but then had to get it fixed and that cost a lot of money. The controller, which you can buy separately, I got from my friend Christian. His friend found the controller, and gave it to him, so he just gave it to me. But, I had to get a specific cable from Italy. Unfortunately this was during a time when Canada Post was on strike, so I had to wait for like two months until I could even use it. [The controller] truly opened up a different world of sounds because I could manipulate the synth more. It’s possible to manipulate the synth from inside but I don’t have that logic. I don’t want to get inside the synth. The controller is just hands-on. You hear it a little bit on the album.

Alto-Sax

Francesco de Gallo on Hobo Cubes - Saxophone

I learned on this saxophone. This is the one I was using to tour a little bit and it’s what Alex Dirty Beaches saw me playing in Calgary when he said we should tour together. The first tour [with Dirty Beaches] was done with this sax. One show in France we were playing in this small venue inside a boat. The show was so crazy and at the end of the set I pulled off this weird punk move and dropped the sax. During the next show I was like “why is the sound all… fuck, I broke the sax.” It sucked, but it’s something that people remember from that show. I could get it fixed, I just never have, because in my heart I know I want a tenor sax — that heavier sound.

“Focus” Tattoo

Francesco de Gallo on Hobo Cubes - Focus

When I got it, I was really in that focus zone. Now it’s harder to focus in general. But I have it here, so now I can’t not focus. At the same time, the tattoo is sort of blurry. So it becomes this double-edged message. Sometimes life is pretty fucked, but you just gotta see what’s in there anyways — and sometimes you have to focus.

Tapes

Francesco de Gall on Hobo Cubes - Hobo Cult Tapes

http://hobocult.blogspot.ca/

« Ralentir radicalement », c’est le dogme au cœur de la révélation symphonique qu’est l’œuvre récente de Hobo Cubes de Francesco de Gallo. Ce nouveau son est une expérience dans l’art de prendre délibérément son temps. Inspiré par leurs connexions artistiques, de Gallo s’est joint à Taiwan d’Edmondton pour nous offrir un split sur vinyle. Des éléments élaborés séparément peuvent fusionner de façon magique. Fruit d’un abandon total aux aléas de la collaboration, ce 12 pouces du label torontois Pleasence Records est la preuve concrète de ce phénomène, d’abord dans la fluidité de cette rencontre entre artistes, puis dans l’approche collaborative même d’Hobo Cubes pour ce projet. Du processus complexe d’assemblage, de déconstruction et de mise en couches, émerge un paysage sonore complexe. Bien que ce son bigarré subsiste dans un monde qui lui est propre, nous avons exploré avec indulgence la constellation de « choses » ayant contribué au tableau. Ajustez vos sens. Écoutez cette piste tout en laissant planer votre regard sur ces images magnifiques.

Hobo Cubes – The Hourglass

 

Labyrinths de Jorge Luis Borges

Francesco de Gallo on Hobo Cubes - Luis Borges

Mon ami Ryan m’a prêté ce livre de Borges avant même que je connaisse l’auteur. Il n’y a pas vraiment de lien avec cet album, mais je sens simplement qu’après cette lecture, je n’ai plus été dans le même état d’esprit. J’ai voulu explorer un son minimaliste mais de conception plus profonde. Ce qu’écrit Borges est hyper illustratif, mais presque abstrait. De plus, j’adore les labyrinthes et le concept de dédales. C’est peut-être le point de départ de la lenteur dans ma vie. Récemment, j’ai trouvé cette édition à vendre et elle a la même couverture que celle que mon ami m’avait prêtée.

Synthétiseur (Roland JX-3P) // Contrôleur (PG-200)

Francesco de Gallo on Hobo Cubes - Synth

J’ai acheté ce synthétiseur d’un gars à Montréal. Il était entreposé depuis dix ans et je l’ai eu pour pas cher du tout, mais j’ai ensuite dû le faire réparer, ce qui a coûté vraiment cher. Le contrôleur qu’on peut acheter séparément, je l’ai eu de mon ami Christian. Son ami l’avait trouvé et le lui avait donné, et il me l’a donné par la suite. Par contre, j’ai dû obtenir un fil spécial d’Italie. Malheureusement, tout ça se déroulait au moment où Poste Canada était en grève. J’ai dû attendre deux mois avant de pouvoir m’en servir. Le contrôleur m’a ouvert la porte sur un nouveau monde sonore en me permettant de manipuler davantage le synthétiseur. C’est possible de faire ça en jouant avec les circuits du synthétieur, mais je ne suis pas doué avec ces trucs. Le contrôleur est plus pratique. On peut l’entendre un peu sur l’album.

Le sax alto

Francesco de Gallo on Hobo Cubes - Saxophone

J’ai appris avec ce saxophone. C’est celui que j’utilisais en tournée et c’est celui avec lequel je jouais à Calgary le jour où Alex Dirty Beaches(http://weirdcanada.com/tag/dirty-beaches/) a proposé qu’on fasse une tournée ensemble. J’ai joué avec ce saxophone lors de ma première tournée avec Dirty Beaches. Pendant un concert en France, nous jouions dans une petite salle sur un bateau. L’ambiance était malade et à la fin j’ai fait une genre de pirouette punk bizarre et je l’ai échappé. Au concert d’après, je me demandais « pourquoi est-ce que le son est tout… merde, j’ai brisé le sax ». C’était chiant, mais c’est quelque chose que les gens ont retenu du spectacle. Je pourrais le faire réparer mais je ne l’ai jamais fait, parce qu’au fond de mon cœur, je veux un saxophone ténor — pour ce son plus grave.

Le tatouage « Focus »

Francesco de Gallo on Hobo Cubes - Focus

Quand je l’ai fait faire, j’étais vraiment dans une phase de concentration. Maintenant, c’est généralement plus difficile de rester concentré. Mais je l’ai, donc je ne peux pas ne pas être concentré. En même temps, le tatouage est un peu flou. Donc, ça devient un peu un message à double sens. Parfois, la vie est un vrai foutoir, mais tu dois quand même voir ce qui s’y trouve malgré tout — et parfois il faut se concentrer.

Les cassettes

Francesco de Gall on Hobo Cubes - Hobo Cult Tapes

http://hobocult.blogspot.ca/

Review :: Hobo Cubes – Hypnotic Infinitum

Existing within the submerged foliage of a hyper dimensional psychedelic jungle, Hypnotic Infinitum captures the untamed reverberations emanating from the core of unknowable places. At their centre there exists a triforce; a triumvareate of underwater libraries, astral exotica, and the granular brilliance of experimentation, from which Hobo Cubes emerge as a new wave of brilliant fringe mascinations. Yet another side project of the highly imaginative Francesco de Gallo (with some help from Bernardino Femminielli). The album is packaged beautifully by the die-cut masters from Patente. Amazing.

Dans le feuillage submergé d’un jongle psychédélique hyperdimensionnel, Hypnotic Infinitum saisit les réverbérations sauvages qui émanent du coeur des lieux inexplicables. Au milieu il y a une triforce; un triumvirat de bibliothèques immergés, d’objets exotiques des astres, et de brio granuleux de l’expérimentation, de laquelle Hobo Cubes émergent en tant que nouvelle onde des machinations brillantes de la marge. Juste un autre projet supplémentaire du tellement imaginatif Francesco de Gallo (avec un peu d’aide de Bernardino Femminielli). L’album est merveilleusement emballé par les maîtres de découpage de Patente. Incroyable.


Hobo Cubes – Onde Astrali (w/ Bernardino Femminielli)


Hobo Cubes – AXXA

Interview :: Velvet Chrome & Francesco de Gallo


It is my pleasure to offer Francophone content for the first time on Weird Canada. This is a huge step forward and one I’m very excited about. Below are two audio interviews conducted by Grabriel Jasmin as part of CHOQ’s Les Artisans du Bruit program focused on capturing some of the fringe musics crafted within Quebec at the moment. We will hear from Jane L. Kasowicz and Francesco de Gallo of Velvet Chrome, a group who poignantly encapsulates Montreal’s bleak psych-dementia, followed by an interview with Francesco concerning his record label Hobo Cult (a Weird Canada favorite) and various solo projects. Gabriel has generously transcribed the interviews into English so those not-so-fluent in French can read along. Enjoy!!

Aaron Levin
Weird Canada / Cantor Records
www.weirdcanada.com / www.cantorrecords.com

/////////////// VELVET CHROME TRANSCRIPTION ///////////////

Les Artisans du Bruit :: Velvet Chrome Interview

Gabriel Jasmin (CHOQ): How would you describe your music?

Francesco de Gallo (Velvet Chrome): We like improvising in different genres, somewhere in between cosmic-tribal and…

Jane L. Kasowicz (Velvet Chrome): Italo…

Not italo-disco, we have an actual italian song that’s like a psychedelic horror soundtrack. We also play garage rock.

Something like garage-psych-noise.

You used the word improvisation in there. Does Velvet Chrome rely on improvisation a lot?

Mmm yeah… Sometimes we try to write songs with a fixed idea and work around that, but our songs often come from jamming out.

It’s mostly improvised jams that we record. When they’re good we’ll re-work them into songs. Though we don’t always play them that way in our live shows.

I’ve noticed you guys exchange instruments during live shows. Is there a reason for that?

We both like exploring with a wide variety of sounds

Does the sound vary depending who plays the instrument?

Yeah for sure. Everyone has a personal style. When Francesco plays guitar it’s always with a no-wave attitude while I’m more garage myself.

I’ve started playing drums and when I’m behind the kit I play very square 4/4 beats, but Jane plays in a much more deconstructed, jazzy way. It gives a very different background.

Your releases have always been very limited editions of 20 or 30 copies, and the packaging was unique for each of them. As a band, do you have a close relationship with visual arts?

Yes. Well, at the start I was making small runs because I was a bit unsure if our material was worth releasing. But they sold out so I made a limited second run. For the new album called Readymades, which is an artistic concept, I wanted to make unique covers so that every one would get a personal relationship with the album.

What are your projects for 2010?

I’ll be starting my solo project JLK, which stands for Jane L. Kasowicz. As Velvet Chrome, we’ll be releasing a … split?

Yeah possibly a split with Hamborghinni, who are two members of Aids Wolf. In february we’ll also be playing Aids Wolf and brooklyn-based Mouthus at Casa Del Popolo.

We might be doing an album soon…

Yeah, we really should. We have tons of unreleased jams, now we have to sort through them to find the best ones. We also have lots of unrecorded pieces that we’d like to finish.

/////////////// FRANCESCO DE GALLO // HOBO CULT TRANSCRIPTION ///////////////

Les Artisans du Bruit :: Francesco de Gallo Interview

Gabriel Jasmin (CHOQ): Francesco de Gallo, you have so many ongoing projects I had to make list to remember them. You play music in : Velvet Chrome, Wasted Widow, Pradada, Hobo Cubes, Cobra Kiss! and your most recent project Magic Beach. Furthermore, you manage your own label Hobo Cult Records and release DJ mixes under the name Hippies Before Priests. Am I forgetting any?

Francesco de Gallo (Velvet Chrome): I don’t know, there’s so much going on. Lots of untitled collaborations are to be released in 2010 on either cassette, CD-R or free download.

First off, how many hours of sleep do you manage to get?

Let’s say between 6 and 8. Eight hours is the best.

Being involved in so many different projects, how do you keep them independent from one another, so they don’t sound all the same?

I don’t know, there’s no clear borders. For my solo work, when i’m working on a loop or a song, the outcome will not be the same whether there are vocals, instruments I used and the way I used them. That usually defines the project. When collaborating with others the result will be different each time.

When playing with others do you write the songs on the spot ? Or do you approach other musicians with definite song ideas?

No, never. I don’t like… I stay away from fascism with Hobo Cult. It’s a big family with people I love. When they create things I enjoy, I like to put them out as an album, even if I had nothing to do with writing nor playing the music. It’s really friendly. I record my collaborations, even one-time jams with buddies, and even though we’ll never play a single live show, I might release it to cassette.

Indeed, except for Velvet Chrome, you have a big recorded output but you play very few live shows. is it because you prefer recorded music to live music or is for practical reasons?

Well actually, a lot of recorded material was taken from live shows. With Wasted Widow, we’ve only played two shows, the first one I have on DVD, but then the band has added a bassist for it’s second show and we recorded that to tape. With Magic Beach, we’ve taken lots of material from our last show in late December. A lot of these will be released in 2010.

Your label Hobo Cult is the home to all your projects and those of your friends. How did it start out?

It’s been a year and a half since i’ve started it. I first wanted to release a Pradada album, which was my main solo project at the time, but I had so much recordings that I couldn’t decide what to put on it. Rather, I made compilations that divided the songs by year and posted them for free on the blog. Then I put them on cassette and gave them out. When I was ready to release something new, I knew I wanted to do it myself. It was just a matter of getting my songs heard by the most people. Whenever I release music I like to try and make it accessible, which is why i’ll post free downloads once the tapes or the CDs have sold out.

Are you planning to have releases on vinyl?

Yeah, we are planning something with Magic Beach. It’s a recent project with Philippe Lambert, who also plays in Goa, Monstre and Monkey King. We will be releasing a split tape with Ass, from San Diego, then maybe another tape or CDr and hopefully a 7″ or 12″ in spring, followed by short week-long tour in the United States.