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INLAND 内陆

by Dominique Vaccaro

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bardotodolpablopicco Sounds that are inside a whale brain.
they move slow and simultaneusly and traspass the water, the microplastic shit that is in salty water, the land and starts to move the garbage.

Dominique Vacaro is a concrete music master!
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  • Full Digital Discography

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    Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of 3 lines and balloons, INLAND 内陆, Not Quite a Trio, Handle, Nail and Rubber Dinosaur, another, Eric Bauer & Carina Khorkhordina, azotea / me with room, Permian Period, and 64 more. , and , .

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about

Tape and Digital Loops, Modular and Stereo Looper, Field Recordings.
Recorded, edited and mixed by Dominique Vaccaro
Mastered by Giuseppe Ielasi

credits

released December 17, 2023

Zhu Wenbo did a short interview with Dominique Vaccaro by email, about his music creating and inspiration.


Z: Would you like to introduce yourself? Where did you grow up and where are you living now? What kind of music influenced you a lot or brought you inspiration? 
 
D: I grew up in south Italy but i live in Bologna since long time. 
I'm self-taught. I started playing guitar when i was 12, listening a lot of blues men from my dad's record collection.  But i also dug other kinds of music, trying to learn as much as I could to be able to form a personal taste. 
Firmly determined to create soundtrack-like music, i started using a double deck stereo cassette recorder, to overlay and mix guitars and any other sound. 
But I had to wait until I moved to Bologna to study Painting at the Fine Art Academy, to hear about Musique Concrète.
The great Luc Ferrari came to town once, for a sound diffusion: it's been a game changer for me.
 

Z: Before this cassette, I have listened all your other albums and I really enjoyed them. I found that you used loops (reel-to-reel, cassette, digital…). When did you start using this method? How does loop attract you?
 
D: I always used cassettes tapes to record but also to use them as tools to make sounds but i started using tape loops more often, after seeing a live set of Jérôme Noetinger and Lionel Marchetti. Amazing tapestry and sound tricks!
 
My friends Luciano Maggiore and Valerio Tricoli were using both a Revox Reel to Reel tape recorder to produce sounds and to perform with, so i bought one and started doing my first attempts with long length tape loops.  It's been good to have other people around that we’re using the reel to reel tape recorder. We could discuss solutions and problems, practicing and learning.

 
Z: I found that all your tracks are very short. Many of them are just one or two minutes. Why you always make short tracks? Because for experimental music, most of them are long tracks, some of them are very long.
 
D: In the past i was used to produce longer pieces but there was something off with my attempts. So i started rethinking my approach. For years i just played mainly guitar, in solo sets or in bands, though i never really stopped recording weird sounds, mostly coming from tape manipulation.  After this hiatus, that lasted some years, back home from a European tour with a punk rock band, i felt the need again to do some tape based music and i wanted that to be, direct, simple and short like some of the first Études of Pierre Schaeffer.
I tried to focus more on the recorded sounds themselves in relation with each other in the space than with the eventual dramatic result that a long track can suggest.
That's why all my latest productions have this characteristic. You can think of them as postcards from dream-like places you have never been or as inner places you cannot quite understand (i think this especially in INLAND). By the way, i've never thought that experimental music is or should necessarily be made of long tracks. I also can't say I'm sticking to this plan forever.
 

Z: I’m also curious to the titles. Is there any meanings to the numbers you use for tracks? I found there are irregular numbers on Close Distances and Overlapped Memories.
 
D: There are no titles, no meaning at all. It's just the serial number of the raw recorded material. All chapters of the same main concept.
 
 
Z: You also have a guitar project J.H. Guraj. It sound totally different to your loop-tape project. Do you think if there is any links between these two different projects?
 
D: it just depends of what i want to express and through what medium my intentions will be better exposed. I don't believe in borders by any means: I'm interested in different kinds of music and art. there's no limit. Both approaches are higly connected through my way of recording and mixing, trying to balance the space between sounds and trying to enhance the perception of each sound in relation with the others and with the space itself.
 

Z: Is it easy for your loop-tape project to do performance?
   
D: It's not that difficult to do. It depends on what you want to use to improvise, though it's been a while that i'm not performing any electroacoustic set. 
At the moment, i'm mostly recording, enjoying the studio work, and publishing. 
 
 
Z: Will it be different between live performance and studio? 
   
D: There are differences between the two, yes: studio time is a way calmer and reflective moment. Live improv sessions can turn highly wild and psychedelic sometimes.
 
 
Z: Beside of music, do you have other interests?
     
D: i love walking inland...
 

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Zoomin' Night Beijing, China

Zoomin' Night
燥眠夜 is a cassette label based in Beijing, run by Zhu Wenbo since 2015.

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