Anthony D'Amico | Foxy Digitalis | April 2011
I was pretty certain that the world already had more than enough bleeping and blooping laptop improvisers, but Mazzon has managed to surprise me by bringing something quite new to the form. The innovation in this case is that Ennio artfully employs the entire available frequency spectrum in these five pieces, which has a very unusual and noticeable effect: the air in the room feels weirdly charged whenever this album is on. Also, some of the sounds feel like they are actually occupying physical space in the air (seriously - I'm not crazy). The experience is probably closely akin to watching a film with an exceedingly expensive surround sound system. I like it - it gives these pieces a lot of presence and immediacy. Also, I suspect that some of the frequencies are probably making my neighbors' cats freak out and careen around their apartment, which is an added amusement. Notably, this is not the sort of thing that Mazzon normally does, as he is primarily known for his work with decontextualized field recordings. However, I still hear quite a few traces of environmental recordings in these five pieces, though they are largely digitized into oblivion. Perhaps this is only a departure because it is improvised and more aggressively manipulated than usual - I definitely hear things that sound like birds, water, wind chimes, and ambient forest sounds that have been warped with a ring modulator and layered a bit. Mazzon has a definite knack for assembling these collages though, as he makes very skilled use of both space and texture. I am impressed. Azure Allochiria is both a compelling experiment and a complicated and dynamic work.
Frans de Waard | Vital Weekly | issue 776 | April 2011
Best known, perhaps, from his work released on his own Ripples Recordings, Ennio Mazzon also released music on Time Theory, Impulsive Habitat, Q-tone, Audiotalaia and Resting Bell. Up until now his music was based on field recordings, but 'Azure Allochiria' (the Greek words 'allo' and 'chira' meaning 'other' and 'hand') is his first work that deals entirely with electronic sound. It's not easy to say where these sounds come from; at times I thought they were alarm clocks, warning sounds or randomly spliced together sine waves. Mazzon puts these together in a somewhat chaotic pattern, of which one is not always sure it's a pattern, or a random clattering of sounds. But this chaos somehow makes sense. It's the density of it all that makes it quite nice. A vibrant mass of crawling insects, moving and working. Obscured processings take place - in the sounds rather than the insects of course. Maybe some of the material is a bit long, but perhaps it's also this longitude that makes this into quite a nice work. The best work so far I heard from him.
Mark Walters | Savaran Music and Sound | March 2011
It's good to be back reviewing after four months at the coalface producing tracks for a couple of releases due out this Spring. Apologies to people waiting for reviews which have been delayed by my lengthy creative process.
Anyway, less about me and more about our next review artist, Ennio Mazzon, from Treviso in Italy. Ennio is a field recordist and sound artist with previous releases on the Impulsive Habitat, Q-tone, Audiotalaia, Resting Bell, Time Theory and October Man Recordings labels. He also runs his own label, Ripples Recordings, which concentrates on electroacoustic releases.
Earlier works typically explore the fusion of field recorded sounds from the natural environment with processed electronic sound to create a suffused alternative sonic landscape inhabited by waterborne transformations and concrete sounds which "transform the natural silence".
Unlike his earlier work "Azure Allochiria" is a wholly electronic experiment borne from laptop improvisations and recording spanning just over a year. Given the length of time to stitch this work together you might expect a formless mass of unrelated material in the final work, but I was pleasantly surprised to find that the five pieces making up the album do in fact work cohesively, particularly after a couple of listenings.
Ennio's purpose throughout the album was to explore the full range of tones and textures available in the electronic dimension. At times this album feels like you are partaking in an extended audiological ear test with frequencies from micro to macrosound level being gently pushed into your brain which swims in a sine wave sea. A trembling rivulet transforms into chirping pulses, mechanical valves hissing, a trilling analogue switchboard, droid chatter in a sci-fi scrapyard or muffled movements in the room next door - you can make up multiple scenes in the mind from this material and that is the joy of the whole work really.
Perfectly suited to a live sound art environment, art installation or being played at high volume in your own space this is an intriguing and multi-layered work that explores some stimulating sonic territory.
Nils Quak | Resonant Strata | February 2011
Ennio Mazzon is a talented guy. Not only does he run the great Ripples Recordings label but also releases a large variety of experimental music ranging from drones and field recordings to freeform experiments with prepared guitars or laptop improvisation. His latest work "Azure Allochiria" is a testament of his laptop work, which focuses on highly abstract textures and complex sonic explorations.
"Azure Allochiria" offers a wide range of sounds. Starting with jittery sine wave rhythms to clicky fragments moving through the stereo field, while brooding drones simmer in the background. This is plain computer music. And it's absolutely fantastic at being just that. Although being quite busy at times, the tracks carry a soothing calmness. It's like standing in the middle of a large computer facility, the whirring noises, the little beeps blend with the ambience so easily and quickly, one almost forgets that the music is still on. A beautiful and mesmerizing album the perfectly complements Mazzon's other works.
Justin Snow | Anti-Gravity Bunny | February 2011
In addition to running Ripples Recordings, Ennio Mazzon is an Italy based sound sculptor who usually works with electro-acoustics & field recordings. His new record on Triple Bath, however, is his first that's strictly electronic, and the first of his that I've heard. So no comparisons, just me raving about how he doesn't need any analog acoustic sounds because Azure Allochiria is totally fucking awesome.
This is some minimal stuff but it has a hundred and one layers. Pretty quiet, delicately textured like digital lace. If you play this at a normal volume, (1) you'll miss out on 80% of it because it flies under the radar and (2) you'll forget you ever put on a record and you'll just think there's an EBS test running somewhere you can't find. So play this fucker loud and you'll be in for a treat, with all of the vertigo high pitches, stuttering anti-patterns, and garbled dog whistles.
There's a magic beauty to Allochiria that transports you to a midnight garden. Lots of insect sounds, chirping, static hammering, clicking, everything twinkling & glitching with a Tron-like blue glow surrounding it. It makes me think of a much more controlled version of the sound speakers/amps make when plugging them in. An elaborate ambient alien Morse code that seeps through The Matrix. Seemingly cold & unwelcoming to the uninitiated, but in reality it's a warm embrace of next-level electro-harmony.
Not knowing what sort of field recordings Mazzon has done in the past, it's still pretty obvious that that's where he's coming from. So much of this record sounds like it could be from the analog world, melting icicles & trickling water, buzzing cicadas, throaty bird songs, yet all blatantly electronic. But regardless, THIS IS IT. Azure Allochiria is an hour long gorgeous minimal texture fest and it's all I need. Way to fucking go.