(Antifrost)

If you think about Antifrost’s releases as inevitable bearers of hissing perfidiousness and quaking auricular membranes, you’re in for a swift change this time. Coti K (which, unbeknownst to me and with great surprise, is an Italian) utilized a “regular” piano to record this collection of pieces. Yet don’t believe for a second that you’ll find romanticism or New Age here. What we get instead is a disfigured representation of wrecked acoustic palaces whose resonance is rendered spurious by the adjacent overtones; I couldn’t say if this is due to particular tuning methods – La Monte Young docet – or if the studio processing was heavier than imagined. The music’s complexion varies from track to track, spanning through strange kinds of reflective bitterness (the magnificent “Pythagorean cluster” comes to mind) and studies on the behaviour of upper partials in definite contexts (“Mesi come giorni”, which also seems to feature some measure of background field recordings). The evident difference with the usual offerings by the Greek label does not imply a lesser quality of the materials, deceptively simple in their structure, generating repeated states of suspension via intriguing coronae and gloomy juxtapositions. Fans of just intonation might have found an unexpected bijoux, but even occasional listeners could like this one without too much of a problem.

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