Giuseppe Ielasi

Hundloka, Flockblomstriga 1


People name albums after themselves as:
(1)They love to see their name in the spotlight twice
(2)They run out of ideas
(3)Words simply fail them
Lucky for us, Giuseppe Ielasi's second release on Hapna is neither a failure nor has he run out good ideas to put down to tape. In reality, if you remember Ielasi from his other solo outing or from his work with Domenico Sciajno, Renato Rinaldi, Alessandro Bosetti or Gino Robair, you'll be in for a pleasant shock to the system. The guy is really breaking out - in all directions at once. He's done a lot more than just purely electronic work. In fact, the first track [all tracks are untitled] is reminiscent of a lost folk melody - strumming guitars are accompanied by a crackling old record make for some beautiful scenery. If anything can be said for the next track is that it resembles a static dub beat stuck in a rut. Deep grooves move around, while the strangest reverb encircles the whole thing. Sure, electronics are still heavy everywhere you listen, but every little bit sounds as if it were well planned and conceived with great thought. During the finale, light percussion enters, and near the very end about five minutes of pure barrelling noise welcome us at the point of departure. Whatever it is Ielasi meant to say with the record - create ambience, disturb the listener or just simply enlighten with new sounds - it makes little difference. If I have to repeat this, I will - this is an exceptional record all around.
Swedish sound artist Anders Dahl has a similar approach to the craft of music making, except for one small detail. He's absolutely crazy about the bouzouki!To be fair, who can blame him. When's the last time you heard someone in the experimental bag use this overlooked gem of an instrument?I can't recall anyone. The sounds that percolate from the speakers are like weird little snippets of another world. Apparently, Dahl has travelled to India and this may be why much of the guitar work here sounds so distant, so intertwined. Much percussion is used along with these constantly scraping violin lines that seem to go on forever. The other thing this guy loves is static and he uses it not for effect but in a textural basis. Tiny bits of high-pitched, computer generated tweaking is heard as are short bouts of clarinet. Last piece features great use of a recorder that is put through his laptop. It tends to cut in and out and provides great buzzing sounds. Thing I love most about Dahl's CD is just how dense it is. Evolving slowly but constantly morphing into new shapes, this is yet another winner from the country that brought us cheap furniture and safe cars.

- Tom Sekowski

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