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Label & Cat.Number: Moving Furniture Records MFR058
Release Year: 2018
Note: strong split LP with side-long pieces by dutch MARTIJN COMES (very minimal drones and pulses based on synths & guitar sounds), and G. ALDINUCCI, who created a stunning ambient collage in his typical choral / spheric way, using field recordings from a Christian procession in "rural Tuscanny"... ed. of 300 copies, comes with DL code
Price (incl. 19% VAT): €16.50
More InfoFor this collective release, Martijn Comes and Giulio Aldinucci neither worked in the same studio together, nor did they share and exchange materials. The two pieces on this LP were composed privately and without any sonic input of the other. And yet, it is far more than just a 'split'.
Both pieces were loosely based on a pair of opposites first proposed by Nietzsche: The moral codex of society, as represented by the Christian church. And the realisation that only by surrendering completely to emotion can we live life to the fullest.
Using a single field recording of a procession in rural Tuscany, Aldinucci investigated how sacred rites are capable of defining new soundscapes. Blazing a trail through three distinct sections, Comes's "Crystalline Tragedies", meanwhile, takes strong feelings evoked by certain life passages into a poetic dimension.
Never particularly strict or academic about their inspiration, the same conceptual source lends a strong sense of unity to the music Ц making it.
Tobias Fischer, May 2018.
"And finally what seems to me (I could be wrong of course) the split release by Martijn Comes
and Guilio Aldinucci; both have been reviewed before and, generally speaking of course, belong
to the wide, wide world of ambient music. Not really the world of abstract drones, but more or less ambient with a strong musical touch; processed guitars, synthesizers and such like. For this split LP they took as a concept two observations by Friedrich Nietzsche; Comes says about this that "for our album, we stripped them down to a simple pair of opposites: The moral codex of society, as represented by the Christian church. And the realisation that only by surrendering completely to emotion can we live life to the fullest." Each of them has a composition that fills the entire side of a
record. In 'Crystalline Tragedies', which is the title of the Martijn Comes' piece, there are two
distinct sections to be noted. In the first half there is guitar playing (courtesy of Constantine
Skourlis), set against a bed of layered drones, which could have been derived from the self-same
guitar playing and some less easy to define sounds, which could be humming. The other half of the pieces is a synthesizer section of mid paced arpeggio tones with an almost bouncing rhythm; it imitates a wind like sound and with a beat I would have said it is Porter Ricks like, but without the beat, as it is now, it is nice tumble of barren land. Aldinucci's piece is called 'The Procession (distant motionless shores)' starts out with field recordings in the leading role. It is the recording of a procession in rural Tuscany, which he takes apart, folds together, unfolds and expands again, but all along you will keep recognizing sounds from the procession; people humming, church organ and church bells. It is not easy to say to what extent Aldinucci uses his computer
transformations here; the eighteen minute is a very fine collage of all of the field recordings
captured during this procession, even including what seems to be animal sounds, building and
growing but slowly taking matters to a quiet conclusion. Two quite different sides are here to this record, perhaps a pair of opposites I should/could think, but it works very well, while the rest of the Nietzsche may be a bit lost on me." [FdW/Vital Weekly]
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