Three accordions and, only in the central movement, a bowed cymbal slightly disrupting what on a first appearance was a reposeful, if modestly solemn set of extended tight clusters. Jonas Kocher, Alfredo Costa Monteiro and Luca Venitucci explicate very few concepts in just over 34 minutes, mixing held tones and brief silences barely disturbed by low muffled noises, a supposed osmosis from the neighborhood surrounding the recording studio. At times, the sensation was that of hearing those humming presences as ghosts coming from the bellows’ insides.
As usual with this type of experiment, the listener’s involvement lies in the quivering produced by contiguous upper partials. Nothing that wasn’t heard before, but the accordions gift these skeletal drones with an evident breathy quality which enriches and, in a sense, humanizes the constitution of the collective texture. You can study the inherent movements and enjoy how the single voices go their own way, perhaps choosing a singalong tone to join this unpretentious ritual. Still, the best fruits are those offered by the collaboration of a specific environment. The walls and the furniture influence the trajectories of the combined harmonics; the silence offers a shelter to the harsher chords. And when the window was open, it was nice to hear the communion between this music and the echoes from the neighboring valleys.