mixed and produced by Gianmaria Aprile, Luca Sigurtà “Warm Glow” CD will be released on Monotype records this spring
OUT 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.
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.
Out now on DEBACLE records RAIBOWLORIKEET debut album, recorded, mixed and mastered by Gianmaria Aprile@Argo Laboratorium_http://debaclerecords.bandcamp.com/album/fractures
Rainbow Lorikeet – “Abell 2667” andFractures
posted by DAVE SEGAL on THU, APR 26, 2012 at 9:57 AM
One of a slew of recent releases by Seattle label Debacle, Rainbow Lorikeet’sFractures stands as an anomaly even in a catalog abounding with diversity. A malevolent, beat-oriented work in the vein of world-class dark magi like Techno Animal, Scorn, and Demdike Stare, Fractures oozes unsettling atmospheres while keeping your head nodding—even as you nervously glance back in paranoia.
Rainbow Lorikeet—Italian producer Nicolò Tescari—sculpts subtle, shudder-inducing textures into powerful instrumentals that skew too bleak to bear something as mundane as vocals. The five tracks on Fractures represent a rare example of an unsolicited demo sent to a discerning indie label that not only deserves release, but also worship.
Check out the video for “Abell 2667,” a highlight from Fractures, directed bySara Cattin. Bonus points for shooting it in a setting totally incongruous with the track’s trepidatious, nocturnal aura.
REVIEW on DEAD FORMAT
: I have mentioned my love for Debacle Records and all they release before so I won’t go into it although you should check out their first 12″ that just came out. Crucial… Anyhow, Debacle Records is quite eclectic in its releases; you get noise, drone, black metal or electronic depending on the release and it’s all held together by Debacle’s strong sense of musical taste. This record falls more into the electronic/beat driven area of their interests. It has a vibe of some of DJ Shadows more laid back tracks but with some more bent synth sounds that come off as almost noise. Maybe comparing this to Boards of Canada meets Autechre would be more appropriate. It’s hard to say as this is a genre that I really don’t know that much about. I am sure there are more accurate comparisons but of what I do know I think this deserves to be right up there. All I know is that is is good.
Visually it’s kinda weird. Hot pink and kelly green are always a stomach turning combination and with the reverse of that on the inside you get a double punch of that. It actually works pretty well but it still makes me feel a little ill. The typography is pretty good but the font chosen with those colors hurts legibility a bit. It has the look of something that was designed in photoshop instead of indesign or illustrator and that can cause some issues are the images that seem to pop up. Although sometimes in the printing those things can occur.
Would I buy this? On looks, maybe, but the sounds are good enough that I would definitely look for this had I heard it on the radio first.