The more one immerses oneself in the recording, the more one comes to appreciate Forcucci’s attention to detail and how artfully he’s arranged the sounds – Textura Evoking an impending danger by means of his orotund heavy “voice” and his effect on sonic sphere which seems to be covered by a sort of camouflage mantle – ChainDLK The music generates feelings associated with the sense of loss and the act of creation, things that, usually, anticipate the rising of new times – Neural
October 11 2016
Presenting recent works at Laser Zurich / sponsored by Leonardo the International Society for Arts, Sciences, and Technology (Leonardo/ISAST)
Outcomes of the one month scientific delirium madness 2.0 residency in San Francisco California, conducted from June to July 2015. Published in Leonardo Journal June 2016.
May 11 – July 2 2016
In Sao Paulo in residency at the Red Bull Station working on new projects and presenting work in Brazil until end of July.
April 18 – May 6 2016
In Olso developing work at NOTAM with support from Vandaler Residency
Presented on January 22 2016 at Centre Dürrenmatt in Neuchâtel / Switzerland
L. Forcucci, 2014, A l’Ecoute du Bruit, In Barbanti R. and Mariétan P. (eds.) Sonorités 9 2015, Nimes: Champ Social Editions
From the series ‘I can’t go Back to Yesterday Because I was a Different Person Then.’ Picture Published in Transnational Dialogues Journal / November 2014
Touching the Audience Published in Proceedings of the Electroacoustic Music Studies Network Conference / Electroacoustic Music Beyond Performance / Berlin / Germany / June 2014
Released on Subrosa records 1. Fog Horns 2. L’Ecume des Jours 3. Winds After 12 hours of flight and some sleep deprivation, I landed in San Francisco in Spring 2011. Because or thanks to my state of consciousness, a distinct and beautiful sound appeared. It took a while to understand if that was real or just my imagination: The sound of the fog horns. Later, after emerging from my own fog, I drove thru Big Sur to Los Angeles on the Highway one. The sound haunted me while driving and I quickly heard it again when back in San Francisco. I went closer to the horns, (sound) walked and recorded sonic material on the coast. The results are imaginary landscapes recombined as a road movie. The material was then composed in Berlin during the summer of 2012 at the studio of T.U. University in Berlin and at Atomic Baby studio, where turntables, scratch, cuts and echoplex (by Goo Le Gooster) and electronic cello (by Michael Kott) were added.