ALBERTO BOCCARDI/LAWRENCE ENGLISH LP 12″

OUT on frattonove records Alberto Boccardi/Lawrence Englis (2013, LP 12″)

Recorded an Mixed by Lorenzo Monti, Gianmaria Aprile, Lawrence English. Mastered by Lawrence English

The idea of the split comes from the recording sessions in the summer of 2012 that Alberto realized with the chorus of classical and contemporary music Antonio LaMotta. Alberto sends Lawrence all the material leaving him complete freedom in manipulation. In A side Alberto develops a path in three movements, where each part is independent but at the same time connected to the others; the sequence evolves as inevitable. Lawrence said about his tracks: “This is what I’d like to think of as Land Music. Perhaps sharing something with the perspective scale of Land Art, in which a massing of micro elements create a marco feature, these small sounds when transformed etch out contours and long envelopes of shape across the air. The pieces breathe with a kind of uneasy familiarity. Sounds of the human world and the natural world co-exist at equal states of transformation.”

foto_boccardienglish

SENTIRE ASCOLTARE REVIEW: Uno split che vale e significa molto più di una semplice condivisione delle due facce del vinile. In primis, perché mette il nostro Boccardi sul piano di un mostro sacro del calibro di Lawrence English; in secundis, perché dimostra se ancora ce ne fosse bisogno lo spessore della scena ambient/elettronica/elettroacustica italiana; infine, perché non di semplice split si tratta, quanto di lavoro d’insieme (e nello stesso tempo, individuale).

Tutto nasce dalle fonti sonore curate da Boccardi per il progetto, ambizioso anzichenò, San Lupo, che il nostro curò l’anno scorso in combutta con altri “nuovi elettronici” come Nicola Ratti e Attilio Novellino: l’elettronica dei tre ad interagire col violoncello di Matteo Bennici e col coro Antonio LaMotta diretto da Davide Mainetti per un set dall’indubbia valenza suggestiva oltre che di possibilità di nuovi affondi sul fronte dell’interazione digitale e non.

Il lavoro in questione vive proprio della rielaborazione o degli echi di quella esperienza. Per Boccardi, manifestandosi in una lunga traccia (Drops, Salt, Ask Me Next Life) in cui l’interazione tra elementi acustici – voci, basso, sax, ecc. – ed elettronici – synth, effettistica varia, ecc. – produce una suite in tre sezioni (che definiremmo moviementi) dal fortissimo sapore visivo/visionario e in cui riecheggia la perizia e l’equilibrio tra le diverse fonti in gioco. Spesso giocati sul crescendo, gli elementi “altri” rispetto alla tradizione di genere sono posti su un piano di diversa calibratura che rende il tutto, e nello stesso tempo, riconoscibile ed alieno: la parte centrale è memorabile in questo senso, tra l’astrazione del coro e le abrasioni elettroniche. Sul lato opposto, il redivivo Lawrence English lavora sul materiale inviatogli da Boccardi per elaborare una traccia in quattro parti (The Rocks That Tear The Ocean) che è una versione altrettanto “fusa” degli elementi in gioco, ma virata più su ambientazioni estatiche e rarefatte in cui il peso del coro viene via via diluito verso ambient sognante e insieme oscura. La risultante è un lavoro di grande spessore che ribadisce la bontà della “scena” italiana, l’accuratezza della ricerca sonora di Boccardi e la lungimiranza della Fratto9.

16 Settembre 2013

FRANCISCO LOPEZ/LUCA SIGURTA’ “ERM”

foto_ermOUT NOW on frattonove records: FRANCISCO LOPEZ/LUCA SIGURTA’ “ERM” (2013, CD)_recorded, edited and mixed by Gianmaria Aprile@Argo LABoratorium. Mastered by Giuseppe Ielasi

This is a split album comprised of two very different tracks, which are nonetheless built around the same original material. The tracks could be described as a suite, divided in movements, of around 20 minutes each, which allow for the specific characteristics of the two musicians to emerge. Sigurtà delves primarily into drone-based territories drawing sonic landscapes oscillating between the ethereal and the concrete, often harboring a beat whereas López works with and within the minutiae of sound, penetrating into the most intricate textures and creating rhythmic patterns with glitches and fragments of sound, while keeping to a well defined and steady musical path. The Sigurtà / López split sees two generations, two worlds and two different approaches to music coming together on one single album.

Alberto Braida and Giancarlo Locatelli – Nel Margine (Red Toucan, 2013)

Mixed and mastered by Gianmaria Aprile@Argo LABoratorium

Alberto Braida and Giancarlo Locatelli – Nel Margine (Red Toucan, 2013) ****

A beautiful record from two musicians I hadn’t encountered before—although they have a history of playing together since 1996.  They’ve released a couple of CDs prior to this one, and they also recorded together in a trio format with the late Peter Kowald (Aria – from 2005).  For this release, Locatelli (clarinet and bass clarinet) and Braida (piano) offer improvisations that have a strong compositional base, but which are open enough to explore uncharted terrain—albeit in a pensive, controlled manner.
Both musicians communicate in a sparse, deceptively simple language that doesn’t require a lot of pyrotechnics to impress the listener.  Indeed, what’s striking about these tracks is the way in which the duo is able to pack so much musical information into their unhurried and restrained musings.  The superb quality of their musicianship plays a big role in the success of the record.  Locatelli’s technique is flawless, and especially strong in producing soft upper-register passages, but always with a willingness to search out the melodic core at the heart of each tune, rather than relying on technical dazzle.  Braida similarly adheres to a “less is more” approach to improvisation, with a lot of softly ringing chords and open space in his playing.
Aside from the last track, “Dal Margine,” which is purely free (and considerably more aggressive than the preceding ten songs), each track is structured around a composed tune to anchor the musicians’ improvisations.  Each player gets credit for half of these tunes, but it’s hard to detect any noticeable differences in style between them; both Braida and Locatelli are clearly influenced by Monk, as all the melodies have that peculiarly Monkish characteristic of being both melancholy and playful at the same time, with a wry sensibility that always shines through.  In every case, the musicians’ understanding of each other is so developed that they can sound exceptionally free while staying loosely grounded in the foundation of the tune.  Part of their mission on the record, in fact, seems to involve blurring the lines between free and composed playing–and the result is frequently sublime.