(Absinth)

German percussionist Burkhard Beins’ intelligent use of resonant space is fundamental, in that his music is built upon a few simple sources that need a lot of air to deliver themselves from their original citizenhood. For those who really want to know, “disco prova” means nothing else than “test record” in Italian; that’s one of Beins’ elements here, an old test-tone LP containing analogue synthesizer waves which he puts at good use in two pieces (“EQ-20″ and “Reel”) together with location recordings and environmental matters. The self-explanatory “Igniter” multiplies the click of an electric gas lighter until thousands of ticks are diffused all around the listening space, while “For Ian Curtis” uses minimal snippets of Joy Division’s LPs rendered unrecognizable until a thorough dismemberment of any meaning is achieved in blurred post-industrial visuals. The overall most satisfactory composition on offer is “Sekante”: two microphones are placed into a polystyrene box, which amplifies the “oscillation and friction sounds” of a 12-metre string that Beins attached to it; water is also added to contribute to an impressive electroacoustic potion. This record contains basic forms of beauty that are there to be discovered, sapiently camouflaged by Beins within structures that appear more threatening than they really are; indeed, repeated listenings bring us to a different conclusion, as each layer reveals minute particulars and disguised codes which the ears find extremely pleasing to dissect and swallow.

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