Music Reviews

Artist: Alberto Boccardi + Lawrence English (@)
Title: Split
Format: 12"
Label: frattonove (@)
Rated: *****
Even if this splitted release derives from Alberto Boccardi's recordings of Antonio Lamotta choir, both the cover artwork by Marco Galeazzi and the general aura of the first suite of this release reminded the final scene of "Nocturne", an old short film by Lars Von Trier: the flock of geese or crows on the ocher sky, the estranging obfuscation evoked by the gradual overlapping of a number of acoustic instruments (double bass, cello, French horn, autoharp, soprano saxophone), which could remind the horns of many maneuvering boats, the progressive saturation of the above-mentioned instruments over consecutive suctions, the clinical and vaguely stifling atmosphere rendered by the plumbean chorus, a sort of atrial flutter which disappears under a rising distorted guitar, the consequent silent coma and the entrancing final etheral delayed sound of "Drops, salt, ask me next life", the sonic path Alberto develops in three movements, could be vaguely associated to that 7 minutes lasting breathtaking short. On the flipside, you'll find "The Rocks That Tear The Ocean", a likewise absorbing suite, built by Lawrence English, who received Alberto's recordings in order to give him the possibility to freely manipulate them, and ideally consisting of four moments: "Thrones and Domains", where Lawrence reprised Antonio LaMotta choir, "Coronach Adrift" - the quotation of Scottish Galic dirge sounds apt to the evoked bleakness -, "Weathered Hymnary", where atmospheric agents seems to have been turned into proper voices and instruments, and the final upward motion of "Seraphim", where a seraphic unhuman chant seems to echo the previous keening choir and rise over the amalgamation of natural and human resounding elements. The final result is a proper mental journey, whose comparison with Land Art "in which a massing of micro elements create a macro feature" by Lawrence himself pertain to his compositional process.

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