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Glinkowski Slaton Sparacino (2008), 6.5/10
Basendrums (2009), 6/10
Autoscopy (2014), 5/10

North Carolina's multi-instrumentalist Nicholas Slaton, who had already released a collaboration with avant-saxophonist Mahlon Hoard titled Slicnaton (2007), formed the Trio Slicnaton with fellow multi-instrumentalists Mietek Glinkowski and Julian Sparacino. Their instrumental Glinkowski Slaton Sparacino (2008) contains dark vignettes of music that borders ambient, industrial and gothic without settling into any genre. The introduction, All In Time, presents the three elements: gloomy rumble, elephantiac sax and savage percussion. What follows is dissonant chamber music (Still Still), post-nuclear soundscapes (Boxcar) and cryptic pointillistic noise (Beans, with a laughing audience in the background).

Clear Field (2008) was a collaboration with two guitarists, Brian John Mitchell of Remora and Robert Brown of Northern Valentine.

Basendrums (2009) contains "improvisations using electro-acoustic percussion, live electronics, bowed pieces of wood, found objects, extended bass techniques, multi-phonics and computer editing"; notably the droning Wrecked and the percussive cubism of Perspective.

Autoscopy (Silber, 2014) was devoted to droning experiments, announced by the angst-filled Watcher. The spectral, sepulchral Doppelganger is born at the confluence of church organ music and Nico's exotic/esoteric elegies. The gentle Astral is a slightly more undulating piece. The problem is that too many of these pieces are lifeless, like the slowly revolving Maartechen and the self-perpetuating Heautos.

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(Copyright © 2012 Piero Scaruffi | Legal restrictions )
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