Andrea Massaria: guitar, objects, live electronics; Enrico Merlin: guitar, Kaoss Pad, live electronics; Alessandro Seravalle: guitar, toys, electronic substratums, samples, live electronics
Italian empiricism is often an unsafe proposition, specially when three guitars are involved. The risk of grandiloquent intellectualism behind a series of farts – instrumental or psychical, it’s the same – is always high, the “noodling factor” an unquestionable certainty when jazz origins, as in this case, are in sight. Luckily for us, Schwingungen 77 Entertainment manage to steer clear of all of the above for the large part of their debut album’s continuance. This “opera prima” is in fact typified by a wide assortment of amusing interferences, seductively agglomerative chords, mashed-and-stretched utterances and abrupt changes of playscript. The whole is reinforced by the regular emergence of (apparently) incongruous tints that render the disc charming without the necessity of screaming in orgasmic frenzy.
Inspired by the Futurist movement, the twelve tracks’ lengths range from one and a half minutes to over ten, but the sense is that of a single histrionic piece of conceptional absurdness. They nevertheless reveal a degree of well-structured investigation of the acoustic properties of the sources. In an episode called “Finale Di Partitura Stra… Schönberghiana” we’re confronted by a curiously “aligned” rhythm through which clean guitar lines shape melodic cells and dissonant clusters at once, additional modified voices emphasizing the humor. “Funerali Dell’Anarchico Galli” sounds instead like the non-music heard when kids reunite in a bedroom and try to play cheap instruments unaware of where they’re gonna fall, before mum comes and tells them to shut the fuck up. The good news is: never in several days of testing I have felt the need of acting like the aforementioned mother. The presence of these nicely clumsy improvisational games might be useful to add flavor to your duller hours.