Another Timbre

Lee Patterson, Vanessa Rossetto: unspecified sources and instruments

Four tracks testifying a long-distance coaction from two reputable names in the area of… OK, you tell me. It just doesn’t have a denomination that one could use without appearing silly, but the noises coming from there are remarkable.

The curve of each sonic organization – or of the single fragments that shape them – is depicted quite precisely: silence or so, slow maturation, accretion of suspensive hints until a somewhat granular organic lineament becomes a steady beingness (sort of), husky dronage, perhaps a few secondary movements related to smaller environments, gradual departure. In the opener “Everything We Know About Anything Indicates That Nothing Is Very Easy” this translates into an integrated combination of temperate stridencies that, over a stretched temporal transition, turns into a firmer moan akin to the classic stomach-clutching humming reflection of a faraway bomber. But already with the subsequent track – “There Is A Very Small Chance That You Are Not Making A Mistake” – consecutive flashes materialize, halfway through subconscious activeness and the measurement of a reality that is unfolding without discernible problems, but still bears the signs of something deeper that might intervene to alter a formulation of the day-to-day routine. Well beyond our reach, in any case, and explicated by a noble conclusion: a drawn-out, resonant low note by a piano, soon followed by the viola’s unstable squealing pitches.

“The Highs And Lows Of Cross-Atlantic Collaboration” comes closer to the territories where meddling with ordinary objects and utilizing an instrument both via extended techniques and by exploiting his natural traits warrant fruits juiced with the acoustic legacy of celebrated predecessors in those fields. The piece flows in near-silent uneasiness, a stillness stroked by unspoken whispers, barely audible murmurs, lowercase gestures and closely miked restlessness. The location recordings assist the psyche in increasing the “evocative constituent” of a couple of tads. “An Indication Of Presence” ends the CD with a synthesis of the foregoing occurrences: the strings are more visible, distributed on several levels; the air encompassing the house can be sniffed at; the weather does not look auspicious for a walk in the park. The droning violas stand in the place where a slightly out of tune orchestra and a coiling Irish reel meet, the motionless harmony actually not so unreactive. Here, like everywhere, the focus on the compositional groundwork emerges at its clearest, the feel of “inside contentment” experienced by a listener after the exposure to a particularly rewarding work returning as an unmistakable consequence.

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