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mnnu rvvrsu


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un 08:29
cirneco 12:51
sesto 08:22
rusuli 5 07:36
scupetti 05:54


Giuseppe Calamia: prepared guitar, objects, electronics.
Francesco Calandrino: pre, post and no manipulated tapes, breaths.

Artwork by F. Calandrino

former avaiable as CD-R (ltd.ed. 30 copies) / SOLD OUT !


released September 13, 2015

The Italian duo Displasia (Giuseppe Calamia and Francesco Calandrino) create a remarkably coherent, dense and atmospheric album by fusing a good deal of the ingredients that have been staples of various experimental musics over the last half-century. What might have resulted in an eclectic overload does in fact sound very balanced and delicate

Amplified objects, electric hums and glitches, recorded ambient sounds on “pre, post and no manipulated tapes”, a prepared guitar, and not voices, but “breaths”: these are some of the ingredients the artists list as their materials. The choice of sound sources alone prevents any chance of melody, let alone, tonality, and one can certainly feel a scepticism regarding “beautiful” sounds that is shared by many 20th-century composers. Yet Displasia’s ticking, bouncing, scraping, reverberating, pulsating, glitching “arte povera” in music manages a feat that their more academic colleagues often have a problem with, namely moving organically from exploring textures into creating regular rhythms, something anathematised by much modern composition. Another striking success, which sets their treatment of found sounds and field recordings apart from the musique concrète tradition and puts in a very original position, is the way in which samples from those sounds are treated like instrumental passages, such as the sampled chatter of birds or the dripping of water entering into a delicate interplay with amplified metal objects (heard on track 3, “cirneco”).

File under: electroacoustic music



Also I never heard of Displasia before, which is a duo from Italy: Giuseppe Calamia on prepared guitar, objects and electronics and Francesco Calandrino on pre, post and no manipulated tapes, and breaths. That results in a pretty odd combination of sounds, but one that works very well. The guitar sounds at times acoustic and on tape there are field recordings of dripping water, and for all of this there is a bit of electronic sound. It sounds, from time to time, like they are standing in an old barn, outside in the country and there is a guitar lying about and some objects are used to play the guitar and the birds are not disturbed by this action. Rain causes some electrical buzzing in the faulty wiring in this old barn and all of this makes up some great music. I was reminded of the very early work of Giuseppe Ielasi, but perhaps Displasia are more into field recordings than Ielasi was. But certainly some of the guitar playing is not unlike him. Most of the times the music is quite controlled; it never bursts out even when some of the sounds used can be quite nasty. Throughout the music remains quite delicate. There seems to be no hierarchy in the use of instruments. Sometimes the guitar prevails, but I think it is safe to say that the tapes play an equally important role in this music. An excellent release of microsound, coming in from a nastier end of the genre. These two might be going places. Should be going places!



Displasia is an Italian duo playing with sound sources which "prevents any chance of melody" and this choices put them in continuity with a musical lineage, starting from musique concrete, based on the use of musical elements treated as noise by traditional musical aesthetic. The overall result is along the part of certain reductionism where the point is on the minuscule resonances and musical meaning of the sonic event rather than in the exposition of a structure.
The recorded voice of a child opens "capu lunniri 1" and introduces a dialogue for radio and metallic objects with spaces for silences and resonances. The reverberated guitar of "un" is a starting for a meditative first part of the track focused on a drone while the second part is focused on noises and percussions. When, after two minutes of almost silence, the radio noise of "cirneco" starts a subtle sequence of small sonic events interleaved by sections of silence. "Sesto" explores the resonances of the strings while "rusuli 5" explores the resonances of the places recorded. "Scupetti" closes this release with small silences emerging frome the underneath silence.
A difficult and demanding listening where there's more cure in the sonic detail than in the overall structure. There are moments of charm and beauty but they require a full commitment in the act of perception. Recommended but only for fans of experimental or EAI.




In DISPLASIA stößt man auf Francesco Calandrino, der auch schon mit Armali Lari und Oper'azione Nafta schöne Merkwürdigkeiten via AC geliefert hat. Mnnu rvvrsu (ACLE 1014, CD-R) zeigt ihn mit Tapes zusammen mit Giuseppe Calamia, der Electronics einsetzt und mit präparierter Gitarre und irgendwelchem Zeug hantiert. Eine Marschkapelle verschwindet um die Ecke, Kinder versprechen großes Theater. Doch es folgen (nur) furzeliger Noise und perkussives Rumoren, zu der auch die Gitarre beisteuert. Calamia Murxt damit rum, lässt sie aufrauschen und Wellen kaskadieren, sein Partner mischt sich mit verwischten Radiostimmen, kaputtem Tape und sirrenden Impulsen dazu. Das Etikett 'Arte Povera' brauche ich ihnen nicht anzuhängen, es pappt schon. Zudem gibt es das offensichtliche Bemühen, gegen die Klischees eines Urlaubsschlaraffenlandes mit ganz sauren Zitronen anzustinken. Die beiden stöbern in Müll, fingern an Luftlöchern rum, krimskramsen mit Schrott, tuns den Spatzen gleich, lassen Hühner gackern, Wasser glucksen, zupfen verträumt an den Saiten oder schlagen sie als Tamtam. 'Schönheitsskeptizismus wird ihnen nachgesagt, womöglich ist das auch nur ein anderer Maßstab für Bemerkenswertes. Glockenschläge, aber verzerrt, Beats, schäbig und verzettelt, Gezwitscher, schrill und stechend. Seehundbabies, heulend. Und wieder Geplätscher, Gekratze, Geklopfe, schrottige Percussion und motorisches Gekurve, statisches Summen, Geknurpse und Gestupse am Mikrophon selbst. Latten werden genagelt, nochmal tschilpen Spatzen, nochmal Klopfen und Flattern, Beckentsching und Feuerwerk. Alltagsmusik? Missgebildete Musik? Man-muss-es-ja-nicht-Musik-nennen-Musik?



Dopo il recente Disegno Architettonico, ora è la volta di Mnnu Rvvrsu; difficile, o forse impossibile cogliere il senso del titolo, ma azzardo che possa essere un omaggio al sempre fantasioso e onomatopeico (io lo percepisco così) dialetto siciliano. Pubblica in sole trenta copie (già esaurite) la tedesca Attenuation Circuit, che aveva diffuso il gradito ritorno degli Oper’Azione Nafta dello scorso anno, Airport Meconium. Sei variazioni sul tema, il solito per Francesco Calandrino e Giuseppe Calamia, un ossessionante pestare/rimestare tra i rumori più disparati, e con pochi labili confini a disposizione (ma incollati tra loro con una certa grazia, va detto). C’è persino un qualcosa che ricorda il beccare di una gallina nella eccentrica “Cirneco”, ma credo siano i consueti scherzetti bruitisti di Calandrino (che suona pre, post and no manipulated tapes, breaths), portandoli a risultare tanto molesti quanto felicemente indigesti, come non pensarlo mentre si ascoltano i rimbrotti alieni di “Sesto”? Mnnu Rvvsu non è ovviamente un’uscita di semplice intelligibilità, ma logico che se sapete con chi avete a che fare allora l’approccio sarà certamente meno traumatico. I due in fondo hanno soltanto scelto di proseguire per quella strada alla loro maniera, e questo lavoro dimostra una sorta di cieca, e fedele nei secoli, caparbietà da impenitenti rumoristi all’ultimo stadio. - See more at: www.thenewnoise.it/displasia-mnnu-rvvrsu/#sthash.KRHp2pcq.dpuf





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