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AGLAIA — Intangible Opacity
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"Aglaia is a great project from Italy, but probably still not appreciated as much as it deserves. The artist releases his albums in Stefano Mussos Hic Sunt Leones, and it seems that his work remains in Alio Dies shadow. Aglaia could be even bigger, but I think that Gino Fioravanti, sometimes aided by Gianluigi Toso, doesnt really care about worldwide recognition I figure hes fine with his current position.
By all means however, Aglaia isnt an Alio Die clone. Although the points of convergence can be easily noticed, Aglaia sounds less organic and prefers to focus on electroacoustics and the creation of an atmosphere by the use of more or less sophisticated electronics. This is no different in the case of Intangible Opacity, one of the two Aglaia albums recently published by Hic Sunt Leones.
On Intangible Opacity Gino Fioravanti dares to visit the place where the Earths atmosphere ends and the infinity of space begins, following the physical and chemical processes that occur in the ionosphere. The sound is based on warm but at the same time somehow distanced synthetic textures, and classical el-music as we used to say in Poland. I suspect that Fioravanti didnt use any other instruments or field recordings on the album. Synths only.
Despite the strict nature of the music, it has a soul. Composed of zeros and ones, enchanted in the tiny box filled with chips and integrated circuits, but not allowing for the treatment of Intangible Opacity as only a virtually emotional, but in fact dry and mathematical record of the aforementioned processes that continually start, progress and end tens of thousands of kilometers above our heads. Theres no blackness, the sound is painted with thousands of hues, the blue and green of the earth being the parent colors. The title composition, the second to last, probably contains the most decent amount of space; the horizon seems to stretch widely, though all the tracks remain on a relatively equal level.
After several listens, I conclude that there are earlier Aglaia releases which I cherish more and will come back to more often in the future. I miss some element raging on the surface of Mother Earth. A wind shaking the barley, or wild fires. A thimble of organic sound appears in Protonosfera, the last one: Gino Fioravanti, at least for a while, gets back to where you can breathe fresh air, as if in spite of the title.
Its still worth buying a ticket to the place from where theres still a possibility to return. Aglaia still holds the fashion." [Stark / Santa Sangre]
aliodie.bandcamp.com/album/intangible-opacity
By all means however, Aglaia isnt an Alio Die clone. Although the points of convergence can be easily noticed, Aglaia sounds less organic and prefers to focus on electroacoustics and the creation of an atmosphere by the use of more or less sophisticated electronics. This is no different in the case of Intangible Opacity, one of the two Aglaia albums recently published by Hic Sunt Leones.
On Intangible Opacity Gino Fioravanti dares to visit the place where the Earths atmosphere ends and the infinity of space begins, following the physical and chemical processes that occur in the ionosphere. The sound is based on warm but at the same time somehow distanced synthetic textures, and classical el-music as we used to say in Poland. I suspect that Fioravanti didnt use any other instruments or field recordings on the album. Synths only.
Despite the strict nature of the music, it has a soul. Composed of zeros and ones, enchanted in the tiny box filled with chips and integrated circuits, but not allowing for the treatment of Intangible Opacity as only a virtually emotional, but in fact dry and mathematical record of the aforementioned processes that continually start, progress and end tens of thousands of kilometers above our heads. Theres no blackness, the sound is painted with thousands of hues, the blue and green of the earth being the parent colors. The title composition, the second to last, probably contains the most decent amount of space; the horizon seems to stretch widely, though all the tracks remain on a relatively equal level.
After several listens, I conclude that there are earlier Aglaia releases which I cherish more and will come back to more often in the future. I miss some element raging on the surface of Mother Earth. A wind shaking the barley, or wild fires. A thimble of organic sound appears in Protonosfera, the last one: Gino Fioravanti, at least for a while, gets back to where you can breathe fresh air, as if in spite of the title.
Its still worth buying a ticket to the place from where theres still a possibility to return. Aglaia still holds the fashion." [Stark / Santa Sangre]
aliodie.bandcamp.com/album/intangible-opacity