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<a href="spotify:artist:5Cn6XI5iZOGTvJkU8f272T" data-name="Glinca">Glinca</a> is Tazio Iacobacci, a composer from Sicily, Italy.
In the early ‘90’s he started making music as a drummer with several noise bands.
In 2002 he joined a band called “Tellaro", a slow core project signed to 2nd Records which put out four releases.
At the same time he developed his interest in composing music ranging from acoustic to electronic soundscapes and he mainly did this under the moniker "Pola" (three records, the first released on Ionik Recordings).
He joined several productions as a drummer, guitarist and programming electronic stuff.
Actually he started making music with modular synths and put out two records, the last one on Shimmering Moods Records.
The Mould is the second full-length work. It makes use of semi-modular and modular synths.
"I leave a lot of room for randomness and modular synths are perfect for this.
I am into the idea of preserving as much as possible the random melodic line I get from the overall modular process.
Lately I've been trying to write music with just a few lines, no superstructures. For instance, the tracks I'm writing right now are compositions with two oscillators and only two melodic lines."
In the early ‘90’s he started making music as a drummer with several noise bands.
In 2002 he joined a band called “Tellaro", a slow core project signed to 2nd Records which put out four releases.
At the same time he developed his interest in composing music ranging from acoustic to electronic soundscapes and he mainly did this under the moniker "Pola" (three records, the first released on Ionik Recordings).
He joined several productions as a drummer, guitarist and programming electronic stuff.
Actually he started making music with modular synths and put out two records, the last one on Shimmering Moods Records.
The Mould is the second full-length work. It makes use of semi-modular and modular synths.
"I leave a lot of room for randomness and modular synths are perfect for this.
I am into the idea of preserving as much as possible the random melodic line I get from the overall modular process.
Lately I've been trying to write music with just a few lines, no superstructures. For instance, the tracks I'm writing right now are compositions with two oscillators and only two melodic lines."