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Italian electronic composer
Ascanio Borga
debuted under the moniker Vomit 2000 with
Music For Non-Airports (1997), a collection of charming
post-ambient frescoes, and Chemical Disorder (2001), a confused work
of 20 brief vignettes in various styles.
Inner Geometry (2001) upped the ante by returning to the longer
ambient compositions of the first album while improving the density and
the chromatic quality of the music.
The 18-minute Inner Geometry masterly employed Terry Riley's minimalist
techniques in a very personal context.
The 15-minute Circular Dream used Klaus Schulze's cosmic music as
the launching pad to craft suspenseful, fragile, slow-motion structures.
Liquid Symmetries (2002) was less successful in recycling the techniques
of the masters. A sense of dejavu detracted from most of the improvisations,
although the 14-minute Underwater did achieve psychological tension
through an organic-like morphing of electronic patterns.
Bad Ground (2006) is mostly taken up by the 35-minute
Bad Ground, a melodramatic electronic symphony that represents a quantum
leap forward for Borga. This is intense abstract soundsculpting with an
almost neoclassical elegance.
Peripheral Vision (Borga, 2007) continued to mull over the stereotypes
of ambient music, from the floating textures of Emergence to the
sweet languor of Floating Sequence to the alien resonance of
Discovery (perhaps the most intriguing track)
to the dilated minimalism of Forgotten Medicine
(imagine Terry Riley played at very reduced speed)
to the quasi-silence of The Big Sleep.
Xenomorphic (2008) collects four compositions.
The 30-minute Apnea is an exercise in slowly shifting textures, starting
with subaquatic warped electronic melodies and transforming into more and more
oneiric soundscapes, until the guitar ends it with a raga-like invocation.
This probably marks the zenith of Borga's career together with Bad Ground.
After a brief interlude of white noise, the 18-minute Xenomorphic blends
shamanic drumming and sinister drones to create the backdrop for a
loop of heavy-metal guitar riffs that is eventually attacked by
industrial clangors and hisses.
The 14-minute Equilibrium is a more conventional piece of ambient
and cosmic music for electronics and guitar, but
the 10-minute Raw Ground dabbles in harsh, disturbing drones that sounds like a counterpart to the stereotypical gentle textures of ambient music.
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