Where Gotgha works with building moments, rooms, out of memories, concepts, and sounds, with self-recorded field recordings, elements of noise, and playing the zither, Mirio explores textures, materiality, and dialogues between them. For him, the situative is even more central; he moves away from referentiality and theory, towards improvisation. Presenting differently, still, all tracks find themselves being iterations of a similar score, being systems of sounds. While in Piero’s practice, the origin is the whole and the reactions and movements within, in Gotgha’s work, it is the single thing, a body in its dialogue with and within a system of elements and the space. Versa/Face, ultimately, is a collaborative release of exploration, aleatorically steered intuition, and perception. Getting pulled along by their sounds, Mirio and Gotgha are digging forward, working their way ahead, trying things, taking risks, thinking, pondering, feeling their way forward.

Pieces 1–3 are based on microphone recordings of various live takes, collages from multiple performances, tape loops, no-input mixing, CV or spatial feedback, together with their respective spatial conditions. These spatial conditions are crucial because dialogue and situatedness are more important than any reference; openness and rawness, and the vulnerability tied to them, are central.

Tracks 4–6 originate from “Risking Repetition. Aestethics of Survival“. A polyphonic/ collaborative format initiated by Joseph Baan. It explored aesthetic strategies for living with the trauma of sexualized violence. This also raised the question of how or whether the body I live in remains alive after such experiences, or whether I am at the same time undead and share life with others from a liminal place. With the music, Gotgha finds an almost spiritual practice that exceeds verbal language and uses it to shape and paint with sound in a highly physical and anticompositional manner.