|
IN STOCK
|
|
|
|
|
ARTIST
TITLE
Say Goodbye to the Wind
FORMAT
CD
LABEL
CATALOG #
SHELTER 139CD
SHELTER 139CD
GENRE
RELEASE DATE
9/16/2022
|
The Palermo born, Munich based composer, Valerio Tricoli, has forged a singular path within experimental sound practice, continuously rethinking the relationship between electroacoustic composition and narrative possibility. Say Goodbye to the Wind is his first album with Shelter Press. Across three intricate, deeply personal works of concrète music, the composer blurs the boundaries between the tangible and abstract, weaving complex allegories for the self. Most commonly created on a RevoxB77 reel-to-reel -- manipulating, live sampling, and real-time editing/mixing of field and studio recordings -- in Tricoli's hands, estranged moments of sonorous ephemera transmogrify and intertwine as metaphorical and allegorical sums, far greater than their parts. The title of Tricoli's sixth full-length is taken from a story by J.G. Ballard, set in the desolation of a holiday resort that rests among a landscape of endless rolling dunes that are populated by "sound sculptures" and monsters. Historically, one of the primary pursuits of musique concrete is the transformation of everyday sonority into abstractions of profound meaning and weight. While this process unquestionable played a heavy hand in the composition of Say Goodbye to the Wind, Tricoli's approach to the idiom sets the stage for something entirely unique. Not only are the practices of tape music applied to field recordings, but to the sounds of piano, synthesizers, objects, and the composer's voice, in addition to interventions by Ecka Mordecai (cello), Lucio Capece (soprano saxophone), and Ida Toninato (vocals). "Lo Spopolatore", draws its title from Samuel Beckett's short story Le Dépeupleur (The Lost Ones). Tricoli's work weaves together a multitude of sonorous fragments: field recordings, voice, and diverse instrumentation. "Mimosa Hostilis" -- the name of a Brazilian plant which contains DMT -- begins with same recording as its predecessor, made of his son's breathing, a few months after his birth, in the Sicilian sea wind. Here, Tricoli treats his sources with pointillistic precision, intermingling vocal and minimal instrumental gestures into a polyrhythmic patter that transforms commonplace sonority into aural echoes of wind, rain, the shadowy species within. The title of "De Vacuum Magdeburgicus" is taken from the name of the first paper published by Otto von Guericke, a 17th century, German scientist, inventor, and politician. While no less oriented around the abstract possibilities activated by field recordings, "De Vacuum Magdeburgicus" is the album's most explicitly musical work. Warbling instrumental sounds and vocal interventions, bent by the hand tape manipulation, push toward heightened states of drama and tension, pushing and pulling against a vast pallet of textures drawn from the natural word and beyond. Artwork by Mårten Lange. Mastered by Rashad Becker.
|
|
|