By analyzing Osvaldo Coluccino’s artistic path and recorded output, two important things must be noted. The first is the variety of the acoustic spectrum, ranging from the rigour of modern classicism to the relative impermanence of soundscapes based on actions performed with unidentified objects in equally mysterious environments. The second is his unique talent in fusing instances of musique concrete in ambits where the juxtaposition and processing of diverse studio-generated sonorities give birth to bottomless psychological milieus. Parallelo should ideally be placed in such a context, despite the music’s reluctance to accept a true classification.

The record consists of two tracks of identical length and title, but diverging in terms of succession of events and actual distribution of the sonic substances. “Parallelo” is describable as a continuum comprising the multitudes of blurred facets pertaining to an individual awareness emerging during the daily existence, whereas “Parallelo 2” manifests its meanings via a sequence of flashes with interspersed short silences, presenting the same type of sonority from a fascinating “now-you-see-it-now-you-don’t” perspective, a slightly different equalization delineating the reverberation of human activity a little more vividly.

The initial half throws in an obscure semi-oneiric dimension, utilizing frequencies that suggest a whispered hugeness in correspondence with relatively recognizable echoes, some of them of urban derivation. It’s the sort of soundscape that fills a room with cavernous aural mementos even at a modest volume: faraway vehicles, luminescent trajectories and unwelcome reminiscences call your attention through a thick haze. A disfigured realism, if you will, with several moments of unadulterated humming from an unspeakable underground.

The alternate version kneads the receptive systems with cyclical frames of action, then quietness. In a way, it’s as if Coluccino wished to let the audience guess the occurrences which will define each subsequent snapshot. “Ordinary” turns into majestic vibration; “massive” is reduced to nothing in a few instants. This constant change does not imply contradictions, as we configure our being according to the (un)familiarity of what is heard. If anything, a separation may emerge between the passiveness of a mere listener and the willing participant submitting a piece of his/her soul to become a part of those unreachable manifestations.

All we learned from the composer is that the inspiration for this imposing opus came from an abandoned monastery destined to be demolished. I fantasize him hypothesizing a symbolism for the ruins of mankind, for Coluccino is well conscious that a decaying building can still offer a rich resonance while most people are completely deprived of internal chambers. And strings, for that matter.

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