(I Dischi Di Angelica)

“Non-human” music can still reveal new vistas when a few logical concepts are applied and thoroughly followed. Such is the case of this CD by Antonio Della Marina, who specializes in sound installations and has collaborated with the likes of Jgrzinich and Paulo Raposo. Born from a computer-generated series of loops fluttering within a just intonation context, “Fades” could be described as a single chord undergoing a constant morphing process or – from an exactly opposite point of view – as a translucent architecture made of continuous alternances of chiaroscuro-like harmonic modulations that never find a resolution, at the same time introducing many of those frequency-beating contiguities which composers like Alvin Lucier built most of their art upon. Della Marina remains in “lighter” territories, though (except for the huge subsonic hum, showing up at about 45 minutes into the piece, that put the wooden parts of my room in impressive vibrational mode), but he has managed to produce a pain-killing means of renouncement to what’s commonly defined a “structure”, even if “Fades” certainly has one.