reset.restart
For the debut EP of Italian sound artist Matteo Traverso, I created the cover design for the digital release and vinyl, as well as visual identity. All scavenged from my own archived photo material dating back to 2016, glacial scenery and frosty residue congregate into an agglomeration of fractures that disclose friction dynamics between disintegrating sonic streams.
Matteo Traverso is an Italian composer, improviser, and sound artist based in Cologne, Germany. This album served as both a self-indulgent exercise in introspection and a distraction during a vacuous period of his past-pandemic adult life.
The sonic density of the compositions is immense, with modular signals excavating rabbit holes across diverse temporal realms, undergoing expansive spatial transformations in fleeting moments. Wandering oscillators phantom through, releasing saturated, serrated sound particles, cascading within Lovecraftian cosmic imagery. “Winter the Longest” was born at the first nights of the Ukrainian invasion, where he tried to capture the the bleakness of a snowy and sour landscape juxtaposed with the distant echoes of conflict. “Tundra, I Don’t Know You,” with the polyphonic digital synthesizer, he imagines an impossible journey with the Trans-Siberian railway and visit the Siberian steppes up to the Arctic Circle, a landscape both desolate and bewildering...
Matteo Traverso is an Italian composer, improviser, and sound artist based in Cologne, Germany. This album served as both a self-indulgent exercise in introspection and a distraction during a vacuous period of his past-pandemic adult life.
The sonic density of the compositions is immense, with modular signals excavating rabbit holes across diverse temporal realms, undergoing expansive spatial transformations in fleeting moments. Wandering oscillators phantom through, releasing saturated, serrated sound particles, cascading within Lovecraftian cosmic imagery. “Winter the Longest” was born at the first nights of the Ukrainian invasion, where he tried to capture the the bleakness of a snowy and sour landscape juxtaposed with the distant echoes of conflict. “Tundra, I Don’t Know You,” with the polyphonic digital synthesizer, he imagines an impossible journey with the Trans-Siberian railway and visit the Siberian steppes up to the Arctic Circle, a landscape both desolate and bewildering...
