Zbeen is an electro-acoustic project by Gianluca Favaron
and Ennio Mazzon. Zbeen’s improvisational approach is
developed from the human-machine paradigm which
is represented by the interaction with digital instruments
specifically designed and developed for this project.
K-Frame, Zbeen's debut EP, was released by Ripples in
Unlike K-Frame, which was developed as a sonic counter-
part to the linear algebra concept of an ordered set of ‘k’
linearly-independent vectors, Stasis elaborates the mathe-
matical metaphor but shifts the attention from the geo-
metric theme of ‘the frame’ towards a more physical
approach to structures such as vector fields and particularly
examining the response of the particles placed within them.
The basic premise is that the sonic behaviour exhibited by
the source particle will depend on the shape of the fields.
Specifically, the scope of Stasis is essentially the definition
of the potential field of a hypothetical acoustic behaviour.
Programming, digital signal processing, field recordings:
Gianluca Favaron and Ennio Mazzon
Edition of 200 copies (out of print)
Co-released with Ripples (RPL013)
Michal Fundowicz at Nowamuzyka (in Polish)
I was hit with mild heartbreak as I took scissors to my copy
of Stasis, which arrived at ATTN:HQ in a vacuum-sealed
silver plastic pack. Ultimately I’m glad that I did it, as such
an action broke my preconceptions of the music that resided
within based on visual aesthetic alone; Zbeen’s latest EP is
far from the sterile, bleeping circuit board of sonic calculus
that I imagined it to be, and in fact, it actually feels just
open to the experiential unknowing of the physical world
as previous EP K-Frame.
It’s like a sonic laboratory: electric whistles quiver gently
like agitated molecules under microscope slides, stutters of
computer processes churn out real-time analysis and error
codes, reverberant howls and distant high-pitched drones
hint towards the reactive experiments occurring in neigh-
bouring rooms. Yet rather than shut itself exclusively within
clinical white spaces and painstakingly controlled modes of
behaviour, the release is full of excursions into the outdoors:
traffic noise, shoes crunching on dry rubble. In fact, the
extent to which the duo explore both abstraction and a rich,
multi-sensory tangibility is quite remarkable, with the bubbles
and scrapes 26 minutes into Skyr Stillheten demonstrating
the release at its most earthly and animalistic. Where the
first half approaches moments of volume-induced instability
via turbulent swells of low frequency, Flytende Stillheten
takes a tense tightrope walk between silence and audibility.
It sounds like the capturing of micro-processes — tiny,
tiny indications of life and activity, slithering across empty
space and forever feeling prone to fall into it. Silence and
death loom large, and I’m left anxiously awaiting the
moment at which that miniscule ripple of frequency
eventually flatlines, slipping into the stasis of nothing.
Jack Chuter at ATTN:Magazine