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The music, generically identified with few, singular characteristics: pay attention to the sound itself not to the relationship between the sounds, so apparent formal disconnection of the single events and slow executions; modules not very different along immense temporal periods. Composed sounds in sequence became less interesting than "order sounds on the time plot".

Music born of " abstract experience", in reality is spread of heterogenous presences.

The repeating processes are the rule, but they don't spend too much time and they leave the place for new repeating processes, creating a connection of static panels.

But the whole record develops exactly from this illusionistic game of exchange between static and dynamic panels. The rules of composition are stratigraphy.
The model is near the Xenakis' mass of sound conception.

From the Milani words: "What influences me? All that is around me. I have learnt to listen to the sound of ambients, cities and places, thanks to my job as acoustic architect. I often spend a lot of time listening without putting a cd on the stereo and playing music. Now the important thing for me is the sound. The manifesto of concrete music says: "we have called our music "concrete music" because it's composed by pre-existent elements, borrowed from any sounds both noise and traditional music. These elements are composed with experimental method by direct construction, not traditional musical construction."
I'm interested in places where I can hear the human presence reverberate. In this way the sound is the only protagonist. The sounds are very important also in social context, so an alteration of sounds also means changes in the human relationships. I have an oriental vision of time and space. Western music doesn't have an universalistic vision of the sound; it's closed into a blind isolationism and unable to feel the expanse of the universal sound language.
In reality I am an autodidact: I often thought of studying music but I am afraid of the sound's beauty so I studied by myself for ten years. In these years I have learnt to consider the sound not the music. So the important thing for me is the iteration between the cd's sound and the ambience where you listen to it. The life of the cd's sounds needs a regeneration through new situations and goads".

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Tiziano Milani

Tiziano Milani, acoustic architect, approached experimental music in the second half of the '90. His passion for the "collected" sounds led him to devote his work to this particular kind of music. "Nothing in the sounds I pick up is affirmed with will and enterprise, but rather whispered or murmured almost by chance, just like a conversation unintentionally heard on a subway train, or accidentally eavesdropped through the wall of an hotel room.
The approach to sounds must not be simplified because every single sound is nothing but a small part of a whole which should be considerated in its own theoretic - and then mechanic - execution. Several different stages of work are stratified in every single piece (contemporary or not). In some cases sounds are generated by touching, beating and breaking contact-miked objects. In other cases, they are the results of manipulated fluxes. In the audio tracks everything is deposited like in a melting-pot that receives and mixes alchemies. The work on sounds involves differect aspects such as improvisation, which is seen like the ecstasy of the moment, like a synthesis between meditation and execution, contemplation and composition, but also a sense of void. The improvisation, the play by meaning of coincidences and casualities, are elements so important that resolve themselves in the idea of process/performance. One of the techniques I use consists of a stratification of the musical form, through which the same elements can have a different expressive function. This kind of "formal deepness" allows movement from the "background" element to the note / musical element in the "foreground" with
continuity. Sounds have a decisive role in a social context, and their variation often determines a consequent change in the relations occurring at that time."

Discography

Album:
Tiziano Milani - La macchina e la percezione della realtà (free download Virus4)
Tiziano Milani - The nomadic Body (free download Virus4)
Tiziano Milani - Chamber music for screeching and artificial insects (cdr Setola Di Maiale)
Tiziano Milani - Music as a second language (cdr Setola Di Maiale)
SIRR (spatial impulse response rendering) Tiziano Milani & Luca Sciarratta (cdr Rudimentale)

Compilation:
The Prostitution of Probity (cdr ZH27)
Aloof Traipse (cdr ZH27)
Ascertain Reliable Disclaimers (cdr ZH27)
The Twists and Turns of the Loved and Hated T (cdr ZH27)
The Twists and Turns of the Loved and Hated E (cdr ZH27)
Who are the mossy cronies muttering monsters antique and haggard with past thoughts? (cdr ZH27)
ARTE NOISE (cd MDT Noise Industry DND)

Collaboration:
Claudio Parodi: Horizontal Mover - Homage To Alvin Lucier (Extreme Records)

http://www.myspace.com/milanitiziano