ThereClub Almus Summer Lagoon. Castellana e le aree dello shop-Wojtyla di Bari e vicino ai luoghi Con 11 sale meeting e un ampio ping intorno a Via Sparano. Capturing all your special moments The passion for spontaneity and originality are his priorities. Stunning location in the park of Bracciano event; Wedding picnic for an eco-chicset in the middle of the country side and wedding party with lower costs and sev-only half an hour from Rome, perfect for a eral different italian style choices; or a realunique wedding reception.
Borgo del Mastro brings to the tableof the lake. Graphic services, tableau andity of the spaces allow you to create unique wedding favors. Music and entertainment. Forest wedding. The ban-quet will be served under the pergola on a The location will be exclusively booked forromantic terrace from which you can enjoy you for the duration of the event.
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In case of badand service that best suits your needs: weather the marquee will be mounted inClassical Banquet prepared the day of the. We recommend our guests to experience the boat ride to en- joy the natural beauty of the lake and its shores from another point of view depar- ture times available on display at each of the three piers of the villages on the lake. The history of this area is very rich. The presence in our region of this charming,the portion of the garden in front of themain house, overlooking the lake. We designed and made unique piec-es of furniture: details are essential quali-ties for us.
The restaurants at the lake are without doubt the most romantic, but the variations in cuisine are so vast that you will be spoiled for choice. In recent years many local pubs, bistros, ice cream parlors and creperies have sprung up. In the summer night life becomes more intense, enriched by numerous cultural events, making your evenings memorable. At 10 minutes from the estate, the ancientcity of Sutri, we recommend visiting theRoman amphitheater, rediscovered only inthe first half of the nineteenth century.
Today, you can relivethe splendor of the past thanks to interna-tional events and chosen as the locationfor weddings by famous movie stars. A few kilometers from Sutri you can alsovisit the important Renaissance cities ofNepi, Bagnaia, the Park of Monsters inBomarzo and Caprarola, dominated by themagnificent Palazzo Farnese. Water On the shores of the lake, as well as intense sensory experience of complete re-enjoying the sun, you can attend courses laxation and harmony. Every year there are nu- shopping, if you do not want to visit themerous sailing events and competitions, bustle of Rome, one can take note of thewindsurfing and catamarans.
Half an hour elegant shops and craft shops in Viterbofrom us you can reach the beaches of the and the surrounding villages. Tyrrhenian Sea we note Santa Marinella We hope that this brief presentation of thebeach and reefs - a famous surfer zone. There are also clubs for gliders that takeadvantage of the upward currents of the We are easily accessible with direct flightslake. Earth The stables in the area providehorseback riding in the woods and in the For further information and on how tonearby countryside.
For lovers of bike or reach us please visit our website:walking there are comfortable scenic trails www.
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The spas are not only Trevignano Romano Roma a pleasant opportunity to engage in their Cell. Abook to tell your Love Story The Wedding BookAFAtelier of Photography was born from a pas- sion to marry the photo shoot to the most modern and innovative graphic techniques. Result are luxurious and modern books, hand- Made using quality materials and a sophisticated method of binding. Paofolar Ttherodnacyiao.. The proposalsfor long hair, straight or curly short are so many andyou have to see, choose and try everything with theinvaluable help and advice of our expert hairdresser,always up to date on new trends.
Paola holder of Sexyin the City, offers a team of professionals makeup art-ists hair stylist. Like A Slow River is, ultimately, not so much an ambient album in the Eno tradition, but rather a softer reined-in extension of the industrial power electronics tradition, its sounds at times liminal, at times subsonic, almost tailor made to the motivating philosophy behind the doom-laden drift of Glacial Movements.
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Head Glacial Mover, Alessandro Tedeschi, claims a wider remit than the simply musical for GM, aiming to do his bit to help protect the Arctic and Antarctic areas by raising awareness of their gradual effacement through musical mediation, and more power to his environmental elbow. Some might see the conceptual programme as musically limiting but, like the many and subtly different Mozart symphonies or Bach fugues, it could equally be seen as a suggestive overarching theme driving many interpretations.
So far, at least, it has given rise to several quite different takes - from Rapoon, Oophoi, and Tedeschi's own Netherworld. Written by Alan Lockett, Contributing Editor. Mick Harris of Napalm Death is not a person many would associate with the unhurried and hushed sound of dark-ambience where the laws of subtle texturing and atmospheric imaging rule supreme. Since the early nineties however, Lull has been the side-project created as a vehicle for Harris' to exercise his more contemplative musings.
After a number of high profile releases on Relapse's experimental sister-label 'Release' and releases for a range of other specialist labels, his latest project 'Like a Slow River' comes courtesy of ice-worshippers and purveyors of quality dark ambience- 'Glacial Movements'. Instantly settling into the deep permafrost soundscapes that have been a staple of the Glacial Movement's roster, Lull takes us on an engaging journey towards the Arctic, but never gets caught up in the inhospitable atmospherics of its more hostile regions.
Instead, his wafting atmospheric drone burbles at near static-pace, shunning the concept of time in favour of charting an elongated course of progression, much like a river that meanders around instead of running the most efficient course possible. After the achingly slow opener 'Whiteout', we are greater with the omnipresent 'The Sheet' which progresses in a more muscular fashion. Sheets of warm and organic static, feedback and warped audio-skree fuse into a devastatingly epic blanket-cloud of sonic-material that constantly threatens the listener with eventual suffocation.
The claustrophobic-nature of the piece is broken up due to the injection of subtle ambience through which a sense of light pervades.
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As the album progresses, it is this sense of light that starts to make itself more apparent, with semi-melodic micro-tones and high-frequency sound waves delicately littering rumbling pockets of low-frequency burble. The sound comes across as natural, almost 'gentile' in-places but with the constant menace of an all-out storm hanging overhead.
It is very much akin to the blustery and unoccupied plains of Northern Greenland post deep-Winter where the ice is starting to thaw and the birds are close to landing, i. With 'Like a Slow River', Lull has perfectly distilled the sound of the sub-arctic in an album whose tracks flow in one great body. The vividly coloured and excellently executed photograph adorning the inside cover is in complete contrast to the sounds that accompany it, however, it acts as a wonderful wake-up call to prove to listeners that there is life beyond the claustrophobic clutches of this magnificent slice of dark-ambient drone.
Thanks to a recognisable concept, tireless promotional activities, co-operations with some of the major acts of the genre and a musical language capable of addressing many different scenes, Alessandro Tedeschi's Glacial Movements imprint has turned into one of the main newcomers in the Ambient segment over the past year and a half. The label's first compilation, "Cryosphere", was one of the talked-about items in insider circles at the time, quickly selling out its limited print run and full-length follow-ups have received more than just an appreciative high-five in various Print- and WebZines.
Interestingly enough, "Cryosphere", with its reverbed spaces and cool-burning bell sounds, proved to be the outfit's most untypical release to date.
Effectively, this was down to the philosophy and aesthetics Tedeschi had been devising in his mind years before concretising them in a record company. Glacial Movements, probably like no other label anywhere else, is steeped in Isolationist Ambient, a music revelling in sensations of perfect solitude. It is the musical cry of the naked individual, exposed to nothing but the bare forces of nature, stripped of the expextations and the support of society. Almost by default, the genre expresses itself best in hermetically sealed-off zones, whose sonic architecture is left to the devices of a single composer.
The twist of the story and the main reason why Glacial Movements has enjoyed such an ethusiastic reception is their conceptual nod towards the frosty beauty of the Antarctic region. Both in terms of cover- and album-design, its publications have explored different trains of thought with regards to these barren, outstretched lands as well as hypothetical journeys through its white infinity.
Ambient, forever a "Picture Music" feeding as much from associations and allusions as from the actual arrangements, attains a spiritual acme in terms of focus and imaginative power here. Clothing the music in lovingly lay-outed Digipacks, Tedeschi has made use of this underlying oscillation to bring out the best in himself and others. On "Morketid", the solo album he released on Glacial Movements as its second CD, he somewhat distanced himself from anything he had previously scored, engaging in a style which owed as much to William Basinski as it did to Brian Eno.
Rapoon's "Time Frost", meanwhile, went down a remarkably similar road, defrosting Richard Strauss' "The Blue Danube" from a centennial slumber. Effectively, these works no longer represent tastefully assembled depressive dirges but an expansive kind of ambient romanticism, taking all the time in the world to let its ardent blood. On the strength of these records, it no longer comes as a real suprise that Mick Harris, of former Napalm Death- and current Scorn-fame, has chosen Glacial Movements as the home for his first album in four years under the disguise of "Lull".
Vice versa, Tedeschi repays the favour by crowning Harris "the most important representative of ambient isolationist music ever" - which may not necessarily be overstating his achievements for the scene, but slightly underrate the eclecticism and diversity of his ouevre, regardless of the bleak and plaintive outlook it holds in general. In opening piece "Whiteout", Harris delineates the outlines of his territory, allowing his gaze to float over gigantic ice floes and penetrating the core of thick clouds of cold mist.
From the initially abstract rumble of howling winds and seismic convulsions, a musical landscape gradually begins to unfold, manifesting itself in deep choral moans and regally shifting drone tectonics. Harris carves out the bass region with special care, creating waves of tummy-punching thrust, which lend his music an immediate physical intensity. Linearity is pleasantly absent here, as pieces move without a recognisable logic. Th album as a hole, however, adheres to a strict plan: From its undefined and open beginnings, "Like a Slow River" peacemeal develops more recognisable forms, leaning heavily on drones rich in harmonics and inner palpatations.
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The title track already bases on a gentle pulse of Nordic breaths, billowing and fluctuating, while closing "Illusion of Unbroken Surface" even closes the album with a delicate melodic touch. Harris maintains a fine and carefully measured balance between stasis and movement, as well as between the frightening and the consoling. As a consequence, "Like a Slow River" has therefore turned out much more than just a dark and ominous chunk of noise. Rather, it weaves a finely woven net of fragile metaphors, resulting in a soundtrack to snowflakes falling from the sky in dream-like slow motion.
After being back on the map with a great Scorn album, Mick Harris has finally unburied the Lull project with a new full length, and I feel it's only natural that it's been released by Alessandro Tedeschi Netherworld 's isolationist label Glacial Movements. Now, has anything changed since the heydays of the Lull sound? This is more or less in the vein of the "Cold Summer" masterpiece, and though unavoidably less groundbreaking it's still an inspired and evocative album. Welcome back, mr. Assistant Editor Difficult but worth the effort, Mick Harris' take on "glacial ambient" is especially literal.
Netherworld's Alessandro Tedeschi founded the Glacial Movements label to explore and promote his concept of "glacial and isolationist ambient" music. These tracks are so minimalist that the notes themselves are largely absent, with just their remnants in the form of lingering echoes left to create a sense of frigid loneliness. Title track "Like a Slow River" at last adds a hint of contrast in the form of whistling tones; presumably meant to evoke the wind blowing through cracks in the ice, it's tempting to compare them to whale songs, if only to conjure some sense of mammalian life to mitigate the loneliness.
The genius of this album is that Harris provides little assistance to the listener; this isn't an album that will instantly transport you to the arctic north with no effort on your part. With properly focused attention, however, Like a Slow River is an extraordinarily subtle and rewarding listen. Daarnaast wordt hij tegenwoordig regelmatig gesignaliseerd in de buurt van Black Engine, een nieuw project van het Italiaanse avant-jazztrio Zu en Eraldo Bernocchi zie GC Of beter: van onder het ijs.
Italian label Glacial Movements' tagline is 'glacial and isolationist ambient' and the new album from ex-Napalm Death, Painkiller and Scorn mastermind Mick Harris embraces this concept. Resurrecting his long-absent Lull project, Harris revisits his dark, minimal ambient alter ego to deliver an album for a label that focuses on those very themes. The fittingly titled "Like A Slow River" is an hour long journey spread across five generally lengthy tracks of glacial ambience. Often barely more than low droning textures and fluid tones, every nuance is subtly portrayed.
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