Essentially, Gadomski and Mirt are a percussionist and a trumpeter, but in Si Si they make good use of samplers, synths, processing and various kinds of concrete sounds – including wind, the whistle of a train and even a harmonium in the marvelously vague opening “Track With Harmonium And Gongs”. The music stands between the nebulous borders of electroacoustic improvisation, a poor man’s version of Jon Hassell and a soundtrack for a movie that will be seen by about twelve persons. This absolute lack of care for the gratification of a larger audience is exactly the reason for which this work should attract a less than superficial listener. Rather minimal in their construction, the pieces seem to elicit a mixture of hopelessness and contemplation; simple melodies, often based on a single phrase or a repetitive arpeggio, are surrounded by damp atmospheres where minuscule percussive gestures and forlorn echoes from a cold urban margin define the solitude of entities resigned to an already certain destiny. The duo shows naiveté and integrity at one and the same time, and this record – as obscure and unsung as it is – does possess values that are not discernible on an unfocused listen.

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