As in his past works like Pleisochronous [Dharmasound-2007] or Fields [Brusio Netlabel-2011], Franz Rosati uses scientific metaphors to describe his sonic macrostructures.
Field recordings and old folk music from Middle-East and Europe are the basic material for Theory of Vortex Sound in which they’re transfigured and distorted, melted together and structured in sound masses flowing from a matter state to another, with the aim to handle sound and its informations like a fluid apt to pressure, oscillation, drifts and tension. Macrostructures are compared to a fluid like the rippling effect in the sea, the increasing velocity of a magmatic flux or the steady state of water in an artificial lake. Theory of Vortex Sound is live recorded in a studio situation with the same custom made software used by Franz Rosati in live performance and with no additive post-production intervention that is minimal and limited to find the right balace to listening and preserving dynamics and original timbral character of the basic sound material.

http://capillarywaves.bandcamp.com/album/theory-of-vortex-sound-outflux-i