Album Notes

«An introduction: the work by Romina Daniele can be placed in the avant-garde. And a prayer: listening keeping away every preconceived ideas, any pre-established music rule, its common meanings, structures, constitutive elements. Now we're ready to listen to "Diffrazioni Sonore" (...) The realization of this project, supported by a strong philosophy (which is the Manifesto of the work) is free from all the common processes as well (...) Works like this obviously arise more questions than assertions: where is the line that separates the experimentation and the ultimate result?»
(Luca Rapetti, Blogbuster)

«The Daniele's working method consists into record totally free vocal improvisations - singing, reciting, screaming and vocalism in a broad sense - that are successively edited in complex set-compositions. It is a contemporary concept of the composition process, in which the writing is not on the paper but on the take, or the hard-disk; it involvs anyway an arrangement and adjustment work as classical technique of composition does.»
(Alberto Carozzi Sands-zine)

FROM "DIFFRAZIONI SONORE" PROJECT THEORETICAL LINE TEXT
My project is the result of a vocal research that takes place through the unbridled improvisation; it follows the composition that, on the contrary, take place through an accurate assembling: I consider it like a work and I do it by myself. "Diffrazioni Sonore" was born as a reflection about the "transverse by nature concept": the research, first was about the composition structure, than has begun to be able to propose unconnected sonorous/vocal experiences with the prevailing idea on singing in the global musical culture, and it embraces a philosophy that concerns: the conscience of existence (as creator), to be contaminated (’cause my creation is in-social and in-cultural contest where rules that I discredit are in force), and contaminating (as supporter of this contamination which I think myself as an episode and not as the symbol). Regarding the sound: Referring to accredited precedents in the history and to definite quotations where I can, my chief passion is the limit. The language of music and sound limit. Limit: where there aren’t incorrect or correct formulations, but just to venture into the unknown through unusual things. Regarding the (formal) structure: I always was been interested in the so-called "entre-deux-coup-de-dés" by Deleuze: the between of the composition, the most ambiguous part of it. So the objective is to exalt the terms of the construction-sensation relationship, not as conflict but as several extensions. There isn’t just the doubtful nature of the exploration in this. The doubtful nature to intend like "out-of-the-rules" at all costs. The foundation is a constant and indifferent to meaning interaction: I don’t want to indicate any one to be vocalist, musician or to live, but to go through: my work is like an action being carried out, a process where it’s necessary to breathe Conscience air. It is "multi-functional": offensive to the pragmatic cultural dominion status-quo that principally dodges the plural and multi-directional creation: what I call indispensable base to start, the point of view that cannot be omitted. These intentions substantiate at least three clear aspects or tracks in my project: an interferential temporality, or being carried out and not aprioristically definited; the serial form, where the listening and the variation produce the spectacular destiny and the composition; the freeing of the style, or the "empty/free will" by Hegel: a technique and analytic mind will not be able to evade it. [Romina Daniele, June 2005]