RAW SCIENCE(Sonic Boundaries, 2016)
1 - Porta Alchemica (13:18)
2 - Prima Materia (process study #1) (13:18)
3 - Raw Science (17:12)
4 - Azoth (14:37)
Recording, mixing & mastering: v2k alchemical laboratory, Rome, 2013-2016
(except some parts of track 1 which were recorded in Berlin)
Ascanio Borga - electric guitar, synthesizers, samples, noises, treatments
Artwork and layout by AB
Cover painting: "Cutting The Stone" by Hieronymus Bosch
Other images: a reproduction of the Alchemical Door (Rome)
With more than three years in the making, Raw Science is one of the most convoluted Borga's works.
It contains four extended tracks crafted with careful stratifications, noise manipulations and
other heavy sound treatment of various sources.
The common ground beneath these pieces is an experimental approach to the music production process. In a classic situation, recording, mixing and mastering have a mere technical role as they are employed to capture instruments and sounds, add auxiliary effects, balance tracks, to exploit and correct sound problems. The main focus is usually on the first steps: in theory, with an ideal quality recording, subsequent phases (especially mastering) should be reduced to a minimum to preserve the original sounds with maximum fidelity. This implicitly makes the assumption that the creative part of the music (i.e. the one where lies the musical language) is oustide the whole process of music recording and production.
The last assumption does not hold for concrete and other forms of experimental music, including this one. Here, effects and sound manipulation play a primary role, mixing and mastering are part of the composition, active creative phases in which crucial modifications and ideas can be inserted, driving the recording towards completely new and unexpected directions. Every phase of music production is not separate from the others, as the whole process can be repeated several times, in any order, following a non-linear pattern. Creative elements can live in any moment between the initial conception of music until the final master. The composer has an extended palette of tools, including those of the sound engineer, to take deeper control on the sound itself.
Ascanio Borga (from the liner notes)