Mark Templeton, Nicola Ratti

Welcome to the third installment in the 13 issues series. This time is the turn of Nicola Ratti from Milan, Italy, and Mark Templeton from Edmonton, Canada, whose musical work was mixed and mastered by Giuseppe Ielasi and is accompanied by pictures taken by Leanne Olson, also from Edmonton. Nicola Ratti began his musical career as guitar player. Lately his approach is more focused on beat-analog experimentation and sound installation. He is currently working with Giuseppe Ielasi, with whom he formed the project entitled Bellows, Attila Faravelli - as Faravelliratti - and ~Tilde, a trio with Enrico Malatesta and Attila Faravelli. From 2007 to 2013 he also played guitar in the desertic soundtrack-band Ronin. He has performed live in Europe and North America, and his albums had been released worldwide by, among others, Anticipate Recordings, Preservation, Die Schachtel, Entr’acte, Senufo Editions, Musica Moderna, Boring Machines, Coriolis Sounds and Holidays Records. Sound artist and media studies teacher Mark Templeton utilizes acoustic instruments, found sounds and sampled material to construct textured, collage-like electronic compositions. In an attempt to describe how his sources are crumbled and reconstructed into new forms, his sound has been called "glitchy," but also "painterly". Templeton's works have been commissioned by organizations and artists of contemporary dance, film and audiovisual disciplines. His music works have been published by Anticipate Recordings, Mort Aux Vaches (Staalplaat), Sweat Lodge Guru and Under the Spire Recordings. He has performed live at international festivals and alternative spaces in North America and Europe. «Often when we think of a city we consider only its visual appearance. We seldom imagine how Edmonton differs from a European city in its sound and how the environment affects the way the sound travels. How does someone from Milan, envision Edmonton? Is it seen as an open arctic space? The sounds of Edmonton, although similar to Milan, end up sounding very different after these sound sources interact with their environments. “Resophonic” is a work that ponders about the creation of a an illusion. The construction in the fieldwork of a soundscape augmented through the addition of sounds that do not belong to it, and that moves in two cities which have a different origin, size, and surfaces, just like unknown protagonists of souvenir postcards. A trip to Edmonton and one to Milan, discovering, as we listen, that the difference lies in the sound-dust of whom inhabit them, in the emptiness of the respective places where our foreign sounds have served as a magnifying lens through which observe them.»