People who ignore layout of basses on accordions - for example Stradella accordion, which is the most common one, has 120 bass buttons, even if most of musicians doesn't really need all of them to play all bass notes and corresponding chords - could find the name of this interesting project as well as the name of their recording "Sei Ritornelli" (Italian for "six refrains") quite misleading as even though this trio of accordion players, made up of Alfredo Costa Monteiro, Jonas Kocher and Luca Venitucci, often explore lower parts of audible spectrum, they don't play basses. Focusing on this instrument and their renewed versions - just in these days, I received an invite to the sixth edtion of International Festival of Digital Accordion, which is scheduled on 3rd November and is going to be held in Rome - could be equally misleading as they integrated a number of "objects" in the line-up during the 3-days lasting recording session at L'Arc Romainmotier (Switzerland), so that you shouldn't expect revised version of Tyrolean folk songs at all. The long initial recording "Fuoco Fatuo" sounds like the typical intro of improv music sessions, where the players looks like tuning their tools, but layer after layer their scouring on the lowest part of accordion's frequency band turns into something pleasantly relaxing, when it's suddenly broken by harshest squeaks of the following track "Abbandonato", whose strident noises could be tiresome if they would haven't inserted some variations. The accordion sound is clearer in the sinister and somewhat obsessive cycles of "Gira Bile", which could remind the noise of a not so perfectedly oiled rusty mechanism, whereas it's partially masked by hypnotic bass oscillations, chilling metallic cacophonies and clattering slides on "Mala Carne". Whereas the trio migrates towards highest frequencies on "Maledetto", a sort of inverted tuning compared to the initial "Fuoco Fatuo", the final "Fantasma" - the track I liked more - shows a gluier amalgamation between accordions.