The five tracks on ‘Ultimo Domicilio’ may be conceptual in their origins, as Emanuele de Raymodi pursues his explorations of the relationships between sound, space, perception and memory through the application of digital sound processing to more traditional compositional structures, but execution outweighs concept by way of a listening experience.
De Raymondi’s work is subtle, but richly textured and not merely ambient. Stutters, scrapes and grumbles interrupt delicately chiming piano motifs and delicate cadences. Interference and fuzzy edges filter gentle pulsations and barely perceptible undulations. A deep throb of distortion crashes in waves on ‘Krakow’, while ‘Brooklyn’ finds a tremulous piano emerging bravely from a dull scraping industrial drone, demonstrating the place of de Raymondi’s work between chamber music and avant-garde.
Emanuele de Raymondi Online
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