A compilation of (mostly) wobbling murmured tones – adjacent or not – whose temperament is symbolized by the definition of the instrumentation: microtonal tuba (Hayward) plus bass, contrabass and hyperbass flute (Fabbriciani). After a series of attentive listens of this set – recorded in Arezzo, Tuscany, in the Basilica Di San Domenico – what lingers on in my ears and memory is exactly the “hyperbass” impression, not much else. The quivering elicited by the amassing of ultra-low frequencies is undeniably intriguing at times, different kinds of listening approach functional in locating details that could go unnoticed otherwise. By leaving these huge whispers resonate in quietness, there’s no more to do than sitting down and perceiving the throbbing. However, the emotional response on this side was almost completely flat this time. Nella Basilica is a mere succession of simple gestures and fluxes, without a definite score or structure yet still insufficient to be classified as a valuable, consistent improvisation. Utilizing headphones is useful to realize about a couple of things: specifically, a clearer detection of the manual activity on the instruments and the tongue-fluttering techniques applied (mainly by Fabbriciani, I believe) to attribute a slight degree of percussiveness to the emission. Unfortunately, this also highlights the practical identicalness of the method throughout the album which, at the end of the day, comes out as one of the least interesting in the entire Another Timbre catalogue. Not an easy aim to achieve.