Patrizio Orsini (Poratz) dj’s in Tuscany clubs, previously he played guitar and is involved with computer programming and backing vocals in an indie band.
Let us presume that Poratz is a construct and the question of location, identity and personal activity are not the question at hand. Music as synthetic act, constructing a sonic text to be taken alone as such. Is this even possible?
Listening to 28.50 I am stuck by a history of past listening, an informed sonic landscape, IDM, if we could conceive of it as a land of its own in the formative sense of the device genre. As a descriptive information act a data list of inhabitants of this land would follow. This list could be in the form of a comparative notion (i.e. holds the rhythmic and atmospheric richness akin to Germ (Tim Wright) circa 1993-4 or Sandoz (Richard H Kirk) of the same time frame). So the sound is not only located comparatively in time and genre but as well in comparison to previous texts thus inflating or deflating it depending on your perspective. It would give you a location by which to investigate further. So would Orsini’s own list of influences: “like kpt michigan, prefuse 73, pulseprogramming and schneider tm”.
Yet such a reading is outside the music. It is concerned with the music’s relationship, not the sonic text itself. There is a need to be dry, like the samples, programmed discrete parts of relationships outside cut up and patterned programming forming rhythmic inter-text remaining within. Electronic pastiche of emotionally ambivalent sound reflecting precision and device, disguised humanity within structured entity. Excuse me, that last sentence involved certain value judgments that are perhaps not to be included in an act of clinical assessment. Even programming and the cultural products of this area of science do little to disguise our humanity. I know truthfully an examination of the programs, techniques would convey with greater precision the music itself. But for one moment consider the act and then try to describe any track precisely without reduction would become an extended technical manual. How much simpler it would be just to be able to produce a score!
Perhaps the route of ‘letting the artist speak for himself’: “poratz is above all one thing: rhythm! Masterly woven out of dry samples and beats. Dark and metaphorical. enriched with nearly breathed, discretely knotted musical relations and references firing at the auditorial cortex….with no doubt poratz belongs to the causative agents — his reward is dopamine.” However this is not necessarily the artist it is probably the person who formed the press release at Electroton.
So abandon these paths to explanation. Tuscany to me is visual at a distance, it is the realm of the armchair traveler, it is all the architecture and art that has been romanticized by modernity. It is a well laid table of earthy fare supped slowly enjoying each mouthful of artisan prepared food. It is ‘a room with a view’ meets Jeffery Smart. It is a hundred and one representations which are abstracts of Tuscany itself. Poratz’s 28.50 is an electronic Tuscany. Is this close enough that you could hear it?
Innerversitysound
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