I’m very impressed by this artist, one of those unclassifiable entities which seem to be gifted with the ability of establishing an instant connection between their act and a world of visions and interpretations of signals. Arrington De Dionyso recorded this collection of improvisations with no overdubs, exclusively using voice, bass clarinet, copper kettle, newspaper and Siberian khomuz (a sort of Jew’s harp). Deeply involved in vocal experimentation and Tuvan throat singing – which he’s mastered with stupendous dexterity – De Dionyso becomes an energetical conduit through which outside forces find their way to a total coherence masked as innovative shamanism. In “White fire on black fire” this man truly sounds like an analog synthesizer’s oscillator – unbelievable stuff, not to mention his more than exciting work with the khomuz, whose metallic resonance is bent and reshaped by Arrington’s oral modifications. He plays a mean clarinet, too, his lines echoing Asian and East European spirits bathing in the blood of thorough knowledge. A serious debut by an accomplished seeker of the unknown.


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