Ascanio Borga
(Copyright © 2006 Piero Scaruffi | Terms of use )

, /10

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.

(Translation by/ Tradotto da Andrea Marengo)

Il compositore elettronico italiano Ascanio Borga debuttò sotto lo pseudonimo di Vomit 2000 con Music For Non-Airports (1997), una raccolta di affascinanti affreschi post-ambientali e Chemical Disorder (2001), un lavoro confuso contenente venti brevi vignette in vari stili. Inner Geometry (2001) accettava l'invito a ritornare alle lunghe composizioni ambientali del primo album mentre improvvisava la densità e la qualità cromatica della musica. I diciotto minuti di Inner Geometry adoperavano le tecniche minimaliste di Terry Riley in un contesto molto personale. I quindici minuti di Circular Dream fanno leva sulla musica cosmica di Klaus Schulze come una rampa di lancio diretta a strutture sospese, fragili, rallentate.

Liquid Symmetries (2002) era meno abile nel riciclare le tecniche dei maestri. Un senso di dèjà vu sminuiva la maggior parte delle composizioni, sebbene i quattordici minuti di Underwater portassero a termine una tensione psicologica per mezzo di un pattern “organico” mutante.

Bad Ground (2006) è occupata soprattutto dai trentacinque minuti di Bad Ground, una sinfonia elettronica melodrammatica che rappresenta un balzo quantico in avanti per Borga. Questa è un paesaggio sonoro intenso e astratto con un'eleganza perlopiù neoclassica.

Peripheral Vision (Borga, 2007) continuava a rimuginare gli stereotipi della musica ambient, dalle textures galleggianti di Emergence al dolce languore di Floating Sequence alla risonanza aliena di Discovery (forse la traccia più intrigante) al minimalismo dilatato di Forgotten Medicine (immaginate Terry Riley suonare a velocità molto ridotta) al silenzio quasi totale di The Big Sleep.

Xenomorphic (2008) raccoglie quattro composizioni. I trenta minuti di Apnea corrispondono a un esercizio nello spostare lentamente textures, esso inizia con melodie subacquee elettroniche distorte che si trasformano in paesaggi sonori sempre più onirici, fino a quando la chitarra li termina con un'invocazione raga. Questo probabilmente segna lo zenith della carriera di Borga assieme a Bad Ground. Dopo un breve intermezzo di rumore bianco, i diciotto minuti di Xenomorphic mescolano un rullo di tamburi sciamanico a brusii sinistri fino a creare la spina dorsale di un loop per riff di chitarra elettrica a volte attaccati da fragori e fischi industriali. I quattordici minuti di Equilibrium rappresentano un brano più convenzionale di ambient e musica cosmica per elettronica e chitarra, ma i dieci minuti di Raw Ground si immergono in brusii acuti e inquietanti che sembrano la controparte delle delicate textures della musica ambient.

The double-disc Altered States (2015) collects guitar solos recorded live in studio with no overdubs. There is much to appreciate in the plethora of different camouflages that Borga adopts here. An awe-inspiring majesty transpires from the slow-motion tide of extended guitar distortion that submerges the nine-minute Magma, while the slightly "stoned" eight-minute Psychedelic Rings evokes Harold Budd's delicate filigrees. The ten-minute Magnitude is a cauldron of fiery industrial noise while the nine-minute Undercurrents (possibly the album's highlight) is a quantum vacuum invaded by subliminal drones, evoking Dali's surrealistic landscapes. If a wall of noise could be anthemic, it would sound like Radiance. On the other hand, Altered States implodes into funereal death tolls. The gothic atmosphere of Raw Science Loop is shaped by pulsating magma and cavernous echoes. Metronomic repetition propels the slow drift of the ten-minute Luminous Fields, a gentle bath into ethereal and almost psychedelic tones. A textbook lesson in decomposition technique, the glissandoes and reverbs of Harsh Ground turn into a zen soundtrack, and Underground Oceans closes the album with a glacial and solemn "om".

Raw Science (Sonic Boundaries, 2016) contains four lengthy pieces that are the exact opposite of Altered States: they are painstakingly crafted, mixed, processed, overdubbed, and generally manipulated to maximize sonic impact. Porta Alchemica (13:18) rises from a slowly-forming rotating nebula to become a sort of creaking slow-motion horror monster which then morphs into a fleet of alien spaceships plunging at accelerating speed towards the Earth. Raw Science (17:12) begins with a fantastic effect (a massive grating noise that evokes jungle rain) but then gets lost in a confused mess of strident drones. Prima Materia (14:18) is an even more trivial crescendo from cryptic drone to wall of sound. Azoth (14:37), luckily, finds the right balance between science and art: here the drones mix and match and mismatch, wrestle and breath, and the music rises out of the collision between the morbid ones and the harsh ones, like an orgy of pleasure and pain, reaching a harrowing peak of devastation that sounds like the burning ruins after a nuclear attack. Porta Alchemica and Azoth are, above all, intensely human even in their most dystopic moments.

(Translation by/ Tradotto da xxx)

Se sei interessato a tradurre questo testo, contattami

(Copyright © 2006 Piero Scaruffi | Terms of use )
What is unique about this music database