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Beyond almost irresistible forces to fetishize and normalize objects of study and research environments, Marco Scarassatti’s "Crônicas Sonoras de Cabo Verde" is a strong statement on participatory translation and dialogical communication.

Educator, instrument builder, and sound artist Marco Scarassatti dodges the tendency to isolate in an intellectual vacuum the individuals and their dynamics, managing to point his own sensibilities outwards. By doing so, he has crafted an organic sonic work, not turning fragments of perceived alterity into a shiny and calm surface on which judgments and expectations are vainly reflected and peacefully confirmed, but rather becoming himself, along with his artistic choices, the analyzed subject.

In collaboration with Autogenesis Magazine.

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"There’s much about his specific homeland that colors his work. He often plays the viola de cocho, a vernacular lute that he has modified to expand its possibilities in improvisation. He has been significantly influenced by Walter Smetak, a composer and sound sculptor little known outside Brazil. Scarassatti also explores soundscapes specific to his home environment, while in the past decade, he has become increasingly active in free improvisation circles in Europe, playing a host of self-made instruments including the “kraiser,” a box-like structure that houses sound devices from percussion to wind instruments. To say that Scarassatti wears many musical hats is literally true: he has made some musical helmets, based on construction workers’ hard hats with sound tubes hanging from the sides."

― Stuart Broomer, Point of Departure | an online music journal