Pita
(Copyright © 2003 Piero Scaruffi | Legal restrictions - Termini d'uso )

Seven Tons For Free (Mego, 1996), 7/10
Get Out (Mego, 1999), 7/10
Get Down (Mego, 2002), 6.5/10
Get Off (2005), 6/10
Rehberg & Bauer: Fasst (Touch, 1997), 6/10
Rehberg & Bauer: Ballt (Touch, 1999), 5.5/10
Rehberg & Bauer: Passt (Touch, 2001), 5/10
Links:

Austrian electronic musician Peter "Pita" Rehberg was one of the pioneers of dissonant music composed through digital noise. He contributed to formalize the "glitch" aesthetics with Seven Tons For Free (Mego, 1996), a concerto for pulse signals, Get Out (Mego, 1999), which was the cacophonous equivalent of a romantic symphony, and the more humane Get Down (Mego, 2002).

The trilogy of collaborations with Ramon "General Magic" Bauer, Fasst (Touch, 1997), Ballt (Touch, 1999) and Passt (Touch, 2001), was his most comprehensive exploration of digital noise, but mostly sounded indulgent and naive. Pop Album (Tochnit Aleph) documents live performances of electronic noise with Zbigniew Karkowski.

Stereoctypie (Asphodel, 2005), credited to Dach and featuring a Japanese vocalist, is one of his most romantic works.

The eight-track mini-album Get Off (Hapna, 2005), the third installation in Pita's "Get" series (following 1999's Get Out and 2002's Get Down), is a veehement exercise in psychological contrast, alternating quasi-silence to bursts of noise, but the concept hardly sounds revolutionary in 2005. After a brief overture, Eternal, of tinkling bells and slowly-revolving celestial drones, that projects the illusion of a calmer, soothing Pita, the brutal eight-minute modulated crescendo of dissonance of Like Watching Shit on a Shelf brings back his most unrelenting visions of the digital apocalypse, sounding like the a horde of agonizing nuclear-damaged monsters. calm, but not humanity, is briefly restored with Resog 45, that initially sounds like a dialogue between androids and high-tension wires before exploding into a machine-gun fire of harsh tones. The four following tracks are intriguing terror-filled ideas, but Pita does not take the time to develop them. The collection thus comes to an abrupt end with the nine-minute Retour, a high-pitched drone that is rather pointless and uneventful compared with the four shorter tracks that preceded it. Only the erratic Pita knows why waste nine minutes that could have been used to further develop better concepts.

KTL was a collaboration between Pita and Stephen O'Malley of SUNNO))).

(Translation by/ Tradotto da xxx)

Se sei interessato a tradurre questo testo, contattami

(Copyright © 2003 Piero Scaruffi | Legal restrictions - Termini d'uso )
What is unique about this music database