This record captures the initial musical dialogue between Gianmarco Liguori and Tom Ludvigson, beginning in March 2014. Except for a couple of short set pieces, all of the music was completely improvised. Limited edition of 100 with unique, one-off screen printed sleeves.
“I took a trip over to Tom’s studio one evening in March 2014, with an antique drum machine and a box of electronic musical devices. We’d met recently and had talked about making some music. Before that I’d read Tom’s Carlos Castaneda-like field notes, “Kleva - Some Healers in Central Espiritu Santo, Vanuatu”, in which he recounted living among the Kiai-speaking population in the remote highlands of Espiritu Santo, Vanuatu. Tom stayed there for 18 months in the mid-1970s, observing the kleva, who according to Tom’s account, were healers “credited with powers beyond those of their neighbours. Their concerns included matters like illness, sorcery, witchcraft, spirits and dreaming.”
“Meanwhile Auckland’s Pasifika festival was in full swing around the corner from Tom’s place, and I had recently been exposed to Polynesian rhythms working in Pasifika communities in South Auckland. Tom and I never discussed the direction of the music, yet an organic, quasi-pacific “industrial” music manifested itself – a result which came in equal measures from the polyrhythmic echoes of the nearby festival, a (mis)treated drum machine, and Tom’s deep knowledge of Pacific cultures”.
“Not long after our first musical encounter, Salon Kingsadore was offered a month-long residency at a rural vineyard restaurant, and in need of a keyboard player, we gave Tom a call. It turned out our freeform approach didn’t go down well with the diners, and we were fired after the first night. We’d found our man.”
Gianmarco Liguori: manipulated drum machine, synthesizer, electronics etc
Tom Ludvigson: synthesizers, piano, electronics etc
“I took a trip over to Tom’s studio one evening in March 2014, with an antique drum machine and a box of electronic musical devices. We’d met recently and had talked about making some music. Before that I’d read Tom’s Carlos Castaneda-like field notes, “Kleva - Some Healers in Central Espiritu Santo, Vanuatu”, in which he recounted living among the Kiai-speaking population in the remote highlands of Espiritu Santo, Vanuatu. Tom stayed there for 18 months in the mid-1970s, observing the kleva, who according to Tom’s account, were healers “credited with powers beyond those of their neighbours. Their concerns included matters like illness, sorcery, witchcraft, spirits and dreaming.”
“Meanwhile Auckland’s Pasifika festival was in full swing around the corner from Tom’s place, and I had recently been exposed to Polynesian rhythms working in Pasifika communities in South Auckland. Tom and I never discussed the direction of the music, yet an organic, quasi-pacific “industrial” music manifested itself – a result which came in equal measures from the polyrhythmic echoes of the nearby festival, a (mis)treated drum machine, and Tom’s deep knowledge of Pacific cultures”.
“Not long after our first musical encounter, Salon Kingsadore was offered a month-long residency at a rural vineyard restaurant, and in need of a keyboard player, we gave Tom a call. It turned out our freeform approach didn’t go down well with the diners, and we were fired after the first night. We’d found our man.”
Gianmarco Liguori: manipulated drum machine, synthesizer, electronics etc
Tom Ludvigson: synthesizers, piano, electronics etc