1. In-Through-Out 27:31
2. From Roots To Routes 12:25
3. From Order To Border (Resonating) 22:07
Tiziano Milani, acoustic architect, approached experimental music in the second half of the '90. His passion for the "collected" sounds led him to devote his work to this particular kind of music.
Milani's music was released on CD-R by Setola di Maiale ("Chamber Music For Screeching and Artificial Insects" and "Music As a Second Language") and as freely downloadable Mp3s by the Chew'z net-label ("SuoniOggettiRisonanti").
"Nothing in the sounds I pick up is affirmed with will and enterprise, but rather whispered or murmured almost by chance, just like a conversation unintentionally heard on a subway train, or accidentally eavesdropped through the wall of an hotel room. The approach to sounds must not be simplified because every single sound is nothing but a small part of a whole which should be considerated in its own theoretic - and then mechanic - execution. Several different stages of work are stratified in every single piece (contemporary or not). In some cases sounds are generated by touching, beating and breaking contact-miked objects. In other cases, they are the results of manipulated fluxes. In the audio tracks everything is deposited like in a melting-pot than receives and mixes alchemies. The work on sounds involves differect aspects such as improvisation, which is seen like the ecstasy of the moment, like a synthesis between meditation and execution, contemplation and composition, but also a sense of void. The improvisation, the play by meaning of coincidences and casualities, are elements so important that resolve themselves in the idea of process / performance. One of the techniques I use consists into a stratification of the musical form, through which the same elements can have a different expressive function. This kind of "formal deepness" allows to move from the "background" element to the note / musical element in the "foreground" with continuity."
"Im Innersten" is conceived as a continuous flux where "all events coming from a different origin interact with each other so that each of them contains all the others in itself". Intervention is focused on the sound/space relation.
The research operated inside a reverberating room is an important experience in this relation: rebuilding sonic objects starting from electronic and acoustic improvisations through the properties of "differently musical" objects that have "sensible" distinctive sound features. Part of the sounds of "Im Innersten" were obtained in such a way.
Research was developed through standard operations meant to measure the acoustic absorption level (UNI ISO 354/89) of different materials (blocks, panels, etc.).
The analysis of the absorbing "power" of materials consist of procedures that are complex and exciting at the same time because of the improbable repetitivity of the measure themselves. Variants are many and seldom reproducible.
Sample materials were put on the floor and the "improvised" sounds were introduced inside the room and then "recaptured" with their new properties (reverb times) by six microphones.
Variation of the reverb time, due to the materials absorbing properties, is the main subject of such a sonic alteration. The resulting sounds were then assembled in a studio.
"Tiziano Milani presenta questo suo nuovo lavoro come "un flusso continuo dove tutte le cose e tutti gli eventi di diversa provenienza interagiscono tra loro in modo tale che ognuno di essi contiene in se stesso tutti gli altri"... Una ricerca fatta di suoni tenui improvvisati e il loro riverberarsi nel "colpire" diversi materiali fonoassorbenti. La mancanza di maggiori dettagli del lavoro o di una versione visiva di ciò che è poi la vera ricerca di Milani ci porta ad accontentarci dell'assemblaggio audio finale di questi diversi studi, con un sapore esteso dell'attesa, una sorta di musica improvvisata ambientale. Opera “aperta” abbandonata sul fondo, tra aloni ed echi di musica concreta."
Live Electronics [more]
"...Milani muovendosi in totale autonomia sta andando sempre più alla deriva nel suo suono, perché sì, che ci crediate o no, questo lombardo ha sviluppato un suono autonomo ed in un ambito para elettronico direi che ci sarebbe da gridare al miracolo anche solo per questo... Se stessimo parlando di classica contemporanea potremmo menzionare quell'eroe totale di Morton Feldman senza alcun timore e non è proprio un caso dato che con alcuni momenti di questo e di altri CD di Tiziano Milani non ci sta neppure male, diciamo che i lavori di questo architetto a tratti risultano in sospensione fra l'elettronica e la musica contemporanea: un po' come se le simmetrie sinistre di Feldman fossero state meno dilatate, più silenziose... Un senso di vuoto o forse semplicemente un senso d'inquietudine tutto notturno, ma che arriva e si dirige dentro alla pancia..."
"Tiziano Milani's "Im Innersten" consists of three long-form pieces, elegantly fusing organic minimalism with something that approaches clicks'n'cuts territory. Milani capably splices delicate textural glockenspiel with a rangy pallette of bleeps and blips, field recordings, and subtle harmonics. The overall feel is sedately paced, crisp and beautifully executed. Perhaps one of my favourites of this handful of releases. Fine stuff indeed."
"The name Tiziano Milani is a new name for me, although he has some releases on Setola di Maiale and Chew-Z... He likes muffled sounds, far away, recorded through the walls. This results in three long tracks which work as endless streams of sounds, rather than a fixed composition of specific sounds. This makes it hard to focus on the end result - the composition - but like Hudak, it seems that its much more three pieces of undirected ambient music. Whereas Hudak limits his sound source to one specific recording, Milani works with a multitude of sounds, which move about on end, but the end result is like Hudak: music to do your newspaper reading, cleaning or just sit back and relax. Also nice, certainly if you play these in a row."
Vital Weekly [more]
"Con ben due pubblicazioni su Setola di Maiale ("Music As a Second Language" e "Chamber Music For Screeching and Artificial Insects") Tiziano Milani è ormai uno di quei musicisti che si sono ritagliati uno spazio ben definito all'interno dell'italico microcosmo, quindi appare come cosa sensata e ponderata la decisione di un Andrea "Afeman" Marutti che gli riserva l'adeguato spazio nel pacchetto delle sue nuove realizzazioni. E ascoltando "Im Innersten" tale decisione si rivela ancor più azzeccata. Milani, nell'arco di tre scritture sopraffine, si muove con eleganza in quegli interstizi virtuali che dovrebbero rappresentare dei tramezzi divisori fra modelli piuttosto definiti e denominati come ambient, minimalismo, industrial, elettroacustica, elettronica, musica concreta…. Il suo è quindi un interregno di Elgaland-Vargalang che, sfuggendo alle classificazioni e ai pregiudizi, ora si incunea in contrade già note ed ora le sfugge, ora le accetta e ora le rinnega, zigzagando con abilità nelle piste tracciate fra le varie linee di confine..."
Sound and Silence [more]
"Tiziano Milani si confronta con la trasformazione, fisica e mentale, del suono attraverso la sua interazione con lo spazio, facendo fluire la musica in una camera di riverbero e poi acquisendola in digitale. Il suono sorge lento ma lussureggiante come un alba in una palude tropicale ("In-Through-Out") muta lentamente, si fa rumore quasi industriale, suono parassita ("From Roots To Routes") e poi ancora si fa letto fluido della memoria, dove fluttuano residui e un barbaglio di piano ("From Order To Border")."
Blow Up [more]
"...On offer here are three lengthy tracks with each hitting near or just over the 20 minute mark. The tracks sort of drift, swell and slowly bob along in a rather appealing dreamy manner; tranquil and harmonic vibe slow rain drifts into piano tinkles, onto electro sound improv, through to distant conversion hum, onto brooding ambient synth buzz and static detail and this all happens with-in the first track. The pace is kept slow, languid and thoughtful through-out all three tracks; track two is the only track that features fairly present and consistent rhythmic elements; but there done in quite a quirky almost improv world music meets glitch fashion. "Im Innersten" offers up three artistically and slowly shifting soundscapes that really require multiple listens to understand and take in all that Tiziano Milani is trying to put across; a very clever, varied yet challenging album worthy of your time..."
Musique Machine [more]
"...To realize these delightfully unsolved textures, a computer processed pre-amplified omnidirectional sources captured by a microphone in a reverberating room. This is not a typical ten-second-Lexicon-Hall album hiding absence of ideas, though. In this circumstance, we're satisfied by a sonic heterogeneity based upon familiar presences mildly enhanced by an intelligent use of electronics. It's a quiet, but not boring series of electroacoustic interactions in which found sounds, electronic radiations and normal instruments generate an ear-rubbing cloth that appears trademarked by names such as Paul Schütze and Ralf Steinbrüchel, even if Milani successfully strives to maintain a trait of individuality. A clever work, dappled that necessary much to prevent wearisomeness from kicking in, elegantly gratifying and - especially in the final track "From Order To Border" – causing interesting reactions in the mechanisms of memory."
Temporary Fault [more]