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Giuseppe Ielasi, "Plans"
Sedimental
Ielasi will be best known for his label, Fringes, which has beenbrightening the Italian improv community for the past six years with aslew of successful releases. Starting out as a guitarist, he performedin several bristly, tense ensembles (even playing acoustic at times)before easing into electronic improvisation, a transition thatintroduced a more understated method of expression and produced worksthat, while full of the scrape and bounce that characterize Ielasi'sguitar-playing, contain new attention towards careful sculpting of thesmooth approach and weightless hover of each piece. Such concerns haveexploded with Plans;at only thirty minutes, the piece is a major addition to Ielasi'salready-intimidating catalog and marks a considerable stylistic shiftfor the artist. Not a work of pure improvisation, Plans wasactually created over a sixteen-month interval and is of remarkablydense construction, including everything from layered field recordings,thick accumulations of vinyl surface noise, and a toy museum's worth ofclatter and acoustic tinker, to the surprisingly "present"accompaniment of live drums and Ielasi's narcotic strumming. Not onlydoes Plans travel through a succession of movements, but themusic transitions with rare, effortless stride, captivating in itsjoining of contrastive sounds and playing styles, over passages thatnot only sound perfectly-aligned but maintain an emotional current thatremains close to the surface. This is the power of Plans; itsimmediately palpable, almost nostalgic beauty becomes a catalyst forforgetting just how intact Ielasi leaves his sound sources. Plaintivechordal phrasing lines up neatly next to the most atonal, asymmetricalbits of sturm und drang, all sounds recognizably different, even (itwould seem) in direction, but down to the slightest of details each onefits and seems created with full knowledge of every foreign item thatwill graze its path. Like the artist's recent improvisations, Planslifts dense assemblage to airy heights without the sacrifice of thesounds' material qualities. One particularly illuminating moment comesin the third or fourth "movement" when out of breezy, layered surfacenoise Ielasi introduces a pristine recording of keys fumbling and heavymetal doors being swung open and shut. These harsh, solid soundsimmediately take their place within the airborne whisper of the whole,an explicit representation of Plans' achievement, iron doorsswinging between the clouds. It is not hard to believe that thisrelatively short piece took so long to create. Even the improvisedelements appear intricately placed, often spliced via electronics tofit the multiplicity of layers and the "larger," more demandingcompositional structure. This music demands repeated listening, and itsrewards, I've found, are almost limitless, such that I cannot evenmuster predictable criticism of the disc's short length. Plansis an easy favorite from the new crop of Sedimental releases and leavesme hoping Ielasi's next work will continue in similar stride.
Ielasi will be best known for his label, Fringes, which has beenbrightening the Italian improv community for the past six years with aslew of successful releases. Starting out as a guitarist, he performedin several bristly, tense ensembles (even playing acoustic at times)before easing into electronic improvisation, a transition thatintroduced a more understated method of expression and produced worksthat, while full of the scrape and bounce that characterize Ielasi'sguitar-playing, contain new attention towards careful sculpting of thesmooth approach and weightless hover of each piece. Such concerns haveexploded with Plans;at only thirty minutes, the piece is a major addition to Ielasi'salready-intimidating catalog and marks a considerable stylistic shiftfor the artist. Not a work of pure improvisation, Plans wasactually created over a sixteen-month interval and is of remarkablydense construction, including everything from layered field recordings,thick accumulations of vinyl surface noise, and a toy museum's worth ofclatter and acoustic tinker, to the surprisingly "present"accompaniment of live drums and Ielasi's narcotic strumming. Not onlydoes Plans travel through a succession of movements, but themusic transitions with rare, effortless stride, captivating in itsjoining of contrastive sounds and playing styles, over passages thatnot only sound perfectly-aligned but maintain an emotional current thatremains close to the surface. This is the power of Plans; itsimmediately palpable, almost nostalgic beauty becomes a catalyst forforgetting just how intact Ielasi leaves his sound sources. Plaintivechordal phrasing lines up neatly next to the most atonal, asymmetricalbits of sturm und drang, all sounds recognizably different, even (itwould seem) in direction, but down to the slightest of details each onefits and seems created with full knowledge of every foreign item thatwill graze its path. Like the artist's recent improvisations, Planslifts dense assemblage to airy heights without the sacrifice of thesounds' material qualities. One particularly illuminating moment comesin the third or fourth "movement" when out of breezy, layered surfacenoise Ielasi introduces a pristine recording of keys fumbling and heavymetal doors being swung open and shut. These harsh, solid soundsimmediately take their place within the airborne whisper of the whole,an explicit representation of Plans' achievement, iron doorsswinging between the clouds. It is not hard to believe that thisrelatively short piece took so long to create. Even the improvisedelements appear intricately placed, often spliced via electronics tofit the multiplicity of layers and the "larger," more demandingcompositional structure. This music demands repeated listening, and itsrewards, I've found, are almost limitless, such that I cannot evenmuster predictable criticism of the disc's short length. Plansis an easy favorite from the new crop of Sedimental releases and leavesme hoping Ielasi's next work will continue in similar stride. samples:
