The instrumentation comprises contrabass, drum set and clarinets. A personal favourite in this batch and, in general, CS’s recent output. A sort of dim-lit chamber music – described as “pragmatic applications of controlled improvisations and compositional structures” – thoroughly relying on the power of extremely low frequencies, contrapuntal answers often consisting of gritty secretions generated by the reeds’ overtones and by the bowing of cymbals and other parts of the percussive arsenal. A critical condition of suspension between the subtle rippling of silence by sparse elements, a “pinch-but-don’t-awake-me” maintenance of a semi-lethargic awareness that nevertheless lets us carefully consider any incident, minuscule or important, which manifests its weight one way or another. Apparently dispassionate, the interaction of the musicians is on the contrary revealing an utmost responsiveness to the slightest movement, a reciprocal will of listening actively which translates into numerous instances where auditory fulfilment becomes almost physical. Diversified approaches to a well-known palette that discard automatic actions in favour of a persistent fragrance of purposeful investigation, with more than a few sections worthy of admiration for the respect of the pure essence of instrumental connectivity. Massimo Ricci (Temporry Fault)
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