According to the current trend, many official critics exalt the pestilence generated by cosmetically enhanced computerized melanges whose exclusive merit is that of highlighting both their creator and their evaluator’s sciolism. Then – out of the blue – a figure like Marco Ferrazza appears, restoring some measure of optimism in the focused listener with a sharp 41-minute statement.
Five sensible tracks, truly wonderful to enjoy, constructed around coordinates of acousmatic descent. Ambiences where every detail is modulated in full respect of its primary genetics, in order to welcome the receiver inside the music’s cellular structure. Never Ferrazza makes us feel as a foreigner in there. There’s a biotically orchestral quality to his work, which he meshes masterfully with the inherent harmonic content of tones, drones, slow curves and bursts of varying dynamic impact. One could picture – playing a bit – Asmus Tietchens’ clever positioning of sources within unreal environments permeated by the vibrating enthusiasm of a Paul Dolden. Just fantasies. The core of the truth resides in the assembler’s ability to retain the metaphysical qualities while, in a way, reassuring the audience through the use of familiar echoes. It’s not a surprise, then, to learn that Ferrazza mostly worked on “concrete” samples to give birth to this small masterpiece. As he himself writes in the liner notes, the “story” is clearly unspeakable.
On the contrary, the stimulating sensations and gripping mnemonic flashes experienced with each new spin speak volumes. If you’re smart, and willing to finally get rid of “names” who keep topping “expert polls” by releasing the same enlightened-yet-insignificant record year after year, this is the path to tread. The inward-looking post-existential aura of Inextricable deserves magna cum laude. We can only hope, from now on, that things progress as they should for this quiet gentleman.