“Fantastic work. (…) Sounds almost like a musique concrète collage made from Folkways LP about the removal of the larynx. But it’s not!”
— The Wire (UK)

“Eramo transforms her whole body into a means of expression, into a beat-boxing, tongue-clicking, screetching, slurping, hissing medium…”
— bad alchemy (DE)

This release is occasionally harsh but always deep and cohesive, leveraging a remarkable vocal technique and overlapping electronic fragments, a theremin, tape machines and contact microphones.“
— neural (IT)


This composition by Alessandra Eramo shows for the first time a vocal interpretation of eight onomatopoetic words from the Manifesto of Futurist Music “The Art of Noises” by Luigi Russolo (1913).
Alessandra Eramo creates harmonious miniatures of rough beauty and embodies urban soundscapes using her voice. Her very original approach to onomatopoeia as well as the humorous, yet profound interpretation of the original material reflects her intense exploration of sounds of industrialized and de-industrialized places of present time. The combination of extended vocal technique, sound poetry and brittle fragments of electronics such as Theremin, tape machines and contact microphone puts a contemporary spotlight on futuristic sound art, it condenses more than a century of bustle and noise and captivates the listener until the last “noise”.

The record is part of Alessandra Eramo’s sound performance project ROARS BANGS BOOMS – 7 variations for voice and onomatopoeia. The first variation was performed in may 2013 at the Gallery Haus am Lützowplatz in Berlin. Other variations of the performance were shown at specific locations in Germany, Italy and Austria (2013-2014):
– Echo Bücher Berlin
– University Bari Aldo Moro, Taranto
– Errant Bodies Berlin
– Museruole Festival Innsbruck
– Museum Fluxus+ Potsdam

“Thunder, Whistles, Booms, Grumbles, Snorts… These onomatopoeic words recall the different sounds of the modern industrial landscape. As part of the Manifesto of Futurist Music The Art of Noises by Luigi Russolo, they are the starting point of this performance work. 101 years after Russolo’s Manifesto, I have written seven sound performance variations for human voice in which noise not only becomes a Leitmotiv, but also turns into musical material itself. I embody these noises. I hear them, I perceive them as urban soundscapes of the present. I transcribe these sounds in drawing and interpret them with my voice and with my body in order to reveal their beauty, while playing with the expectation and imagination of the audience.” — Alessandra Eramo



“Fantastic work. (…) Sounds almost like a musique concrète collage made from Folkways LP about the removal of the larynx. But it’s not!”
— The Wire (UK)

“Eramo transforms her whole body into a means of expression, into a beat-boxing, tongue-clicking, screetching, slurping, hissing medium…”
— bad alchemy (DE)

This release is occasionally harsh but always deep and cohesive, leveraging a remarkable vocal technique and overlapping electronic fragments, a theremin, tape machines and contact microphones.“
— neural (IT)

“…Eramo presents eight concise miniatures. She is adding electronics, theremin and microphones to her fascinating voice. A fierce extract of her onomatopoeia performance-cycle…”
— freistil (AT)

“…The artistic scope of the voice is to make it not just a communicative instrument, but also a framework within which psycho-aesthetic situations can develop. (…) Alessandra Eramo is a performer of sound poetry, moving in the best tradition of Fluxus artists (…)
Listening, and here is an archaic prelinguistic situation, which over time expel the … distant future – and these sounds help to capture an audio Babel. It is at least peculiar to listen to this artist, who manages with vigor and vision the main Italian artistic traditions of the 20th century, starting with the Futurists, through Giacinto Scelsi to touch then Demetrio Stratos and his descendants.”
— ΔΙΣΚΟΡΥΧΕΙΟΝ / VINYLMINE (GR)