FRAME " The Journey "

....both artists have created a masterpiece of atmospheres.MAGAZINE SIXTY

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FRAME is a project started on 1992 from Eugenio Vatta and Andrea Benedetti with the idea to re-create the atmosphere of a movie theater in a musical show. As happened during the days of silent films with orchestras playing in real time during the movies, the FRAME project had the aim to follow with electronic instruments, the evolution of a movie, specifically assembled for the show. This happened in real time following few guidelines and with a lot of improvisation in order to donate to the electronic instruments a more human interaction dimension. Samplers, allow us to record in real time external sounds and synchronize them with the images. These sounds, even if coming from acoustic sources, had manipulated in order to be suggestive and more interesting. Then noises and spoken words are used to guide and distract the sensations of the listeners. To involve more and more the public, FRAME used a quadriphonic sound system, even behind the public, expanding the spatiality of sound. In this way, the public is involved with the union of images and music typical of cinema and, at the same time, with the physicality of a live concert. So FRAME creates something between cinema and a concert; a sort of live soundtrack: humanity and technology in communication. A new kind of show, every time different from the previous one that was shown at festivals and concerts in Rome, Viterbo, Rieti, Brussels and Zurich. Over the years, Eugenio Vatta and Andrea Benedetti have recorded a lot of material as Frame that they thought to edit for this record project, specifically made for Glacial Movements. “ The Journey “ it’s composed of ten soundscapes that focus on silence. In fact according to the artists, silence in glacial environments and in space are very similar, both in a figurative sense and in terms of perception.

EUGENIO VATTA: He began his musical career by studying guitar and then turned his attention to piano. Thanks to the spread of low-cost electronic instruments, he is soon interested in the study of synthesizers and electronic keyboards in general. He was also a sound engineer at the Shuttle recording studio in Rome, collaborating with RAI 2 and RAI 3 with Augusto Zucchi, Marco Lani, Oreste Lionello and Fulvia Mammi. During this period, he realized some songs using the computer that will be published in the CD "Tensione", edited by Rosso di Sera / Polixena. In 1989 he opened his own recording studio with Andrea Benedetti, which allowed him to develop a good interaction with electronic instruments for the creation, recording and manipulation of sounds.He is a founding member of SNS (Sounds Never Seen), a record label of italian experimental techno. With this label, he made some productions including the LP "Antisystem" by Lory D and produced by BMG.For BMG / Ricordi, he has produced the cd "Ambienti Sonori" with the collaboration of Andrea Benedetti, a mixture of electronically elaborated acoustics and various type of electronic synthesis. For a long time, he studied acoustics specializing in the production of sounds from acoustic and synthetic matrix amplified by several sound sources (quadriphonic sound system).Since 1993 he has collaborated as a sound engineer with the label Via Veneto Jazz, with whom he also collaborated with artistic production and for which he recorded a cd as author "Essendo la mia casa addormentata". Via Veneto Jazz has recorded the most famous Italian and foreign jazz musicians such as Mike Stern, John Patitucci, Lello Panico, Antonello Salis, Danilo Rea, Javier Girotto, Randy Brecker, Paul Mc Candless, George Garzone, Eddie Henderson, Pat Metheny, Trilok Gurtu, Mark Ribot Fabrizio Bosso e BSBE and others. Since 2000, after his experience with SNS, Frame, Frammenti di Caos and Entropia he started to be sound director specialized in surround recordings and live actes with contemporary music group Alterego. With them he has collaborated with Gavin Bryars for the project “Sinking of the Titanic” with Scanner and William Basinski at Venice Biennale, with Matmos and Pansonic, Philip Jeck during a European tour, Alvin Lucier in “I’m sitting in the room”, Terry Riley in “IN C” and other important artists of contemporary and electronic music. Actually he writes music for movies and orchestra recordings.

ANDREA BENEDETTI: He began his musical activity as a DJ in the early 80s working in some club and radio in Rome. His interest in production takes place in the late 1980s with the purchase of the first synthesizers. In 1990 he created a recording studio together with Eugenio Vatta. Together they refine their technical and musical skills, starting to lay the foundations for the development of their own personal sound that will blur in separate productions, but also in collaboration under the pseudonym Frame. In the same year, he collaborated with the first Italian experimental techno label, SNS (Sounds Never Seen) of the dj / Roman musician Lory D. After some releases on Roman electronic techno-labels such as Sysmo and Mystic, in 1993 he created his label Plasmek with which he developed his own musical ideas more and succeeds in giving room to other techno and electronic producers in Rome. The label will become the next year one of the constituent elements of a Roman label pool called Finalfrontier that have been created on 1994 with Marco Passarani, owner of Nature and Pigna records. With Finalfrontier he has produced with Marco Passarani more than 100 records by artists like Lory D, D’Arcangelo, Phoenecia, Max Durante, Gabriele Rizzo, T.E.W., A.D.C., Ambit3, Jolly Music, Mat 101, Francisco, Raiders of the Lost Arp, I-F, Antony Rother, RA-X, Somatic Responses, Dynamic Wave, M.S.B. and others. As producer, he has released records, with SNS, Plasmek, Aural Satisfaction, Kickin, Art-aud, Flash Forward and Furthur Electronics. He has always been interested to spread theories and news about electronic music so he has started working as a speaker on several Roman radios and writing for some foreign magazines (Under One Sky - New York, EAR - Strasbourg, Freestyler - Zurich). In 1993, he created the first fanzine of Italian techno and electronics called Tunnel. Writing interviews and reviews, he collaborated with Orbeat, the first free mag techno and electronic electronic produced in Naples, Superfly, a bi-monthly music magazine made in Rome and electronic music sites electronique.it and frequencies.eu. During his career he interviewed artists like Rik Davies Cybotron, Juan Atkins, Derrick May, Underground Resistance, Suburban Knight, Carl Finlow, Dj Rolando, IF, Phoenicia, Funkstorung, Egyptian Lover, Karl Bartos and many others. In 2006 he released for the publishing company Stampa Alternativa, the book "Mondo Techno" about the origins of techno music in Detroit and its diffusion in Italy. The book is going to be re-pressed on 2018. He has arranged the supervision of the Italian edition of the book “Electrochoc” by Laurent Garnier.

Track Listing:









9.Pluto and Charon

10.The Arrival


Label: Glacial Movements

Artist: Frame

Release date : 30th Janyary 2019

Format: CD Digipack

Cat. Num: GM036

Barcode: 8033959880340

Music arranged by Frame; all music written by Eugenio Vatta

Record and Mix at E 45 studio Roma by Frame. Masterd by Eugenio Vatta

Cover photo by Tero Marin, sleeve design by Rutger Zuydervelt.

A Glacial Movements records release, January 2019. All rights reserved.



It’s no coincidence that the label releasing this San Francisco-based ambient duo’s album is called Glacial Movements. That name is also a perfect description of the sounds they make together.BIG SHOT MAG

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Aria Rostami and Daniel Blomquist's debut album "Wandering Eye" was recorded over the span of a year and a half. "Dome A" and "Dome B" were recorded inside of a planetarium dome to no audience and it was the second time Rostami and Blomquist played together. "Ridge A" is the latest song recorded and it was performed live in Blomquist's basement. These live tracks use source material ranging from samples from the internet, to live field recordings, to synthesizers. "Dome C" and "Dome F" were compiled by sending material back and forth over and over again and then rearranged into coherent songs. These studio recordings mostly consist of processed piano originally recorded by Rostami. "Ridge B" originated as a cover of the Persian pop song "Do Panjereh" by Googoosh that Rostami had created but was manipulated and distorted in the process of sending the material back and forth. The song titles come from a paper published by Saunders et al. titled "Where is the best site on Earth?" which highlights the best places to observe space from the Antarctic Plateau. Antarctica is the coldest, driest and calmest place on earth. The astronomical sights there yield images of the heavens that are sharper and have more clarity than any other sight on earth. It is a gateway to observe other worlds.

Aria Rostami and Daniel Blomquist are from San Francisco, CA. Rostami and Blomquist's work occurs at two stages, the gathering/preparation of source material and the live performance. Primarily, Rostami and Blomquist's source material focuses on, digital information and the exchange of that information, repetition and decay, and non-involvement or surrendering aspects of creative control. Some of the piano recordings were created by answering a simple questionnaire Rostami made that uses letters, colors, numbers, major verse minor, and picking between flat, natural and sharp to create a framework for a composition. After the framework is created, Rostami creates a song on the piano, records and sends it to Blomquist who in turn manipulates it. In some cases, Rostami recorded the material using the audio recording option for the app Viber. Rostami used Viber to communicate with a friend who was visiting Iran. Since he had asked her to fill out the survey through the app, he also recorded the material through the low quality recording interface. Sometimes this material is thrown back and forth and sometimes it's processed only once or barely touched. The recording is then turned into a loop and recorded to tape. This system was developed to surrender control and allow the origin of the composition to come from somewhere else much like field recordings or sampling does (two other ways Rostami and Blomquist gather source material.).Time, entropy, and decay are central factors in Rostami and Blomquist's work. For live performances Blomquist works with samples gathered and manipulated digitally and then dubbed to analog tape, reconstituting the quality and predictability of the digital source material. By using loops, Blomquist can take a short audio clip and concentrate on processing it live and allow for improvised changes to that recording over long periods of time. Rostami adds in an extra layer of drones, fuzz, melodic ambience and crescendos with his synthesizer. Their compositions explore dynamic relations between digital and analog sound creating quiet transitions and soaring peaks.


Track Listing:


1. Dome A 80.37° S 77.53° E 4083m

2. Dome C 75.06° S 123.23° E 3233m

3. Dome F 77.19° S 39.42° E 3810m

4. Ridge B ~76° S ~94.75° E ~3750m

5. Dome B 79.0° S 93.6° E 3809m

6. Ridge A 81.5° S 73.5° E 4053m


Label: Glacial Movements

Artist: Aria Rostami & Daniel Blomquist

Release date : 24th June 2016

Format: CD Digipack ltd edition + Digital

Barcode: 8033959880227

All songs performed and arranged by Aria Rostami and Daniel Blomquist

Recorded/Mixed by Aria Rostami, Daniel Blomquist and Brian Adler

Mastered by Thomas Dimuzio at Gench Studio

Photography by Bjarne Riesto, layout by Rutger Zuydervelt.

A Glacial Movements Records Release, June 2016.

All rights reserved.