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3/4HadBeenEliminated
Bowindo
This awkwardly named ensemble is the collaboration between three ofBowindo's central players and co-founders, Stefano Pilia, ClaudioRocchetti, and Valerio Tricoli. The latter's Did They Did I?is one of the young label's best releases so far, and his comrades areno strangers within the budding Italian scene, Pilia with a CDR ofbeautiful droning guitar pieces on the Last Visible Dog label andRocchetti with at least one lauded recording as Kitano. And while itmight not be appropriate to call this disc the work of a "supergroup,"as the sixth and latest Bowindo release it feels, at least, like thelabel's first truly essential product, the trio matching each other'stalents to create a seven-part cycle of radiant acoustic imagery. 3/4HadBeenEliminated's45 minutes unfurl in a graceful, gripping sweep that combines theItalians' tendencies towards lyrical improvisation and colorfulelectroacoustics, with a grounding in the kind of baroque assemblagetechniques championed by people like Dean Roberts and Jim O'Rourke. Itis a roomy collage of found sounds, entranced piano and strings,featherweight percussion, and the small-yet-tactile electronicmanipulations most Bowindos manage with the such grace. Whole tracksare swallowed within drones of unquenchable warmth, carryovers fromPilia's Healing Memories record but without as grand apresentation, suggesting rather the distant, saturated golds of a Klimtpainting. As with previous Bowindo releases, field recordings getincorporated in such a way that they guide or introduce certainportions of the piece rather than float along as surface filler, asubtle but effective way of carving an environment from the workitself. The result is the same kind of unreal ambience labelmateGuiseppe Ielasi regularly produces, an unpredictable landscape thatreveals, only in afterthought (or aftershock), the rigorous method ofits creation. At points during the disc a beautiful chamber ensembleemerges, picking apart minimal, plaintive lines, as if at the cue of aparticular broken glass or cheap electronic whine. The effect of thisinvented troupe of players, slinking ghostly between so many goldenguitar drones, sheets of harmonium haze, and assorted earthenresonance, only to appear with the arbitrary quickness of a twigsnapping underfoot, is simply breathtaking, many listens over."Bedrock" travels from a tender, big-band shuffle sounding almost likethe Bad Seeds at their most sublime, to a lengthy area of abrasiveshatter and pop, garage ambience that still manages to feel like justanother station along the disc's narrative. When the associativestrains of guitar and percussive foundations disappear, more discretepatterning of electrical hums, engine turnovers, and minor tapetreatments become attempts at maintaining the momentum and sonicdensity of a particular moment, a method aimed at continuity ratherthan clash, and one that helps to create an incredibly fluidsound-world, full of juxtapositions, but ones which provide anindecisive magical middle passage. It's rare that works this complexalso succeed in feeling as direct, regardless of particular directiveschanging with each listen, a compliment that can be paid to most of theBowindo/Fringes releases I've heard. Discovering this label has been ajoy, and both of its 2004 releases will rank among my favorites for theyear.
This awkwardly named ensemble is the collaboration between three ofBowindo's central players and co-founders, Stefano Pilia, ClaudioRocchetti, and Valerio Tricoli. The latter's Did They Did I?is one of the young label's best releases so far, and his comrades areno strangers within the budding Italian scene, Pilia with a CDR ofbeautiful droning guitar pieces on the Last Visible Dog label andRocchetti with at least one lauded recording as Kitano. And while itmight not be appropriate to call this disc the work of a "supergroup,"as the sixth and latest Bowindo release it feels, at least, like thelabel's first truly essential product, the trio matching each other'stalents to create a seven-part cycle of radiant acoustic imagery. 3/4HadBeenEliminated's45 minutes unfurl in a graceful, gripping sweep that combines theItalians' tendencies towards lyrical improvisation and colorfulelectroacoustics, with a grounding in the kind of baroque assemblagetechniques championed by people like Dean Roberts and Jim O'Rourke. Itis a roomy collage of found sounds, entranced piano and strings,featherweight percussion, and the small-yet-tactile electronicmanipulations most Bowindos manage with the such grace. Whole tracksare swallowed within drones of unquenchable warmth, carryovers fromPilia's Healing Memories record but without as grand apresentation, suggesting rather the distant, saturated golds of a Klimtpainting. As with previous Bowindo releases, field recordings getincorporated in such a way that they guide or introduce certainportions of the piece rather than float along as surface filler, asubtle but effective way of carving an environment from the workitself. The result is the same kind of unreal ambience labelmateGuiseppe Ielasi regularly produces, an unpredictable landscape thatreveals, only in afterthought (or aftershock), the rigorous method ofits creation. At points during the disc a beautiful chamber ensembleemerges, picking apart minimal, plaintive lines, as if at the cue of aparticular broken glass or cheap electronic whine. The effect of thisinvented troupe of players, slinking ghostly between so many goldenguitar drones, sheets of harmonium haze, and assorted earthenresonance, only to appear with the arbitrary quickness of a twigsnapping underfoot, is simply breathtaking, many listens over."Bedrock" travels from a tender, big-band shuffle sounding almost likethe Bad Seeds at their most sublime, to a lengthy area of abrasiveshatter and pop, garage ambience that still manages to feel like justanother station along the disc's narrative. When the associativestrains of guitar and percussive foundations disappear, more discretepatterning of electrical hums, engine turnovers, and minor tapetreatments become attempts at maintaining the momentum and sonicdensity of a particular moment, a method aimed at continuity ratherthan clash, and one that helps to create an incredibly fluidsound-world, full of juxtapositions, but ones which provide anindecisive magical middle passage. It's rare that works this complexalso succeed in feeling as direct, regardless of particular directiveschanging with each listen, a compliment that can be paid to most of theBowindo/Fringes releases I've heard. Discovering this label has been ajoy, and both of its 2004 releases will rank among my favorites for theyear.
