D’incise: all sounds, composition
His relatively young age notwithstanding, D’incise is surely in the condition of keeping a listener engrossed and willing to observe the confluences and the bridges upon which his product is assembled. The title (translating as “The Natural Splendor Of Things And Hell”, a concept originating from Portuguese writer Antonio Lobo Antunes) becomes even more evasive in view of the music’s potential hidden meanings. On the aboveground it’s pretty comfortable material for those in the know, primarily revolving around slight variations on the “dripping liquids + tampering with everyday objects” canon, to which the composer adds intrusions by cleverly chosen electronic extensions. The latter may pass off for a few instants to reach a climax of sorts; then it’s instant goodbye, damp-ish reverberations and other types of semi-twisted appearance not representing dangers to the piece’s unhurried temperament. Things get interesting when, halfway through, several subsurface components start to make their muscle felt, impacting the spacial arrangement and the frequency mix in rather crucial fashion. The single 48-minute track is also defined by short intervals of complete hush, as to recalibrate the addressee’s mind in case of need. Still, the desirable option – given the subtleness of the joints between the various sources – should be that of a good quality set of headphones, unless one favors missing the petite details to get lost in a (partial) psycho-acoustic fog. Which, in this particular instance, is not bad at all. And, let me tell you: this belongs among the rare recent albums in this field where sonic species and combinations already employed by hundreds of people manage to eschew the “threadbare” tag.
MASSIMO RICCI. TOUCHING EXTREMES. 