This is the third time within a year that Loris Zecchin from Trieste, Italy, made it into the Vital. Frans reviewed his first two releases in VW 1445 and 1468, and now it’s my turn. I don’t know anything other than what was written in the Vital, so I’m just gonna play the music and share a secret with you without trying to find out more. Because I’ve had the tracks already for two weeks here, and I have listened to them more than once. Yes. But I didn’t write about it yet and you know why? Because there is a complexity here, I don’t know what to do with it.
If I keep it simple, There are three tracks, totaling under 40 minutes, and it’s an Italian artist making experimental music. But that wouldn’t be fair to Loris and you. So … Let’s try.
Petroglifi Solubili is a relatively new project, and from what I understood from the previous reviews in VW, the main instrument is a Roland 404 sampler, which is just about maxed out on all possible levels. There is a lot of cut ‘n paste techniques being used and sudden movements in the compositions. But this wasn’t created just over night. A lot (and I mean a LOT) of thinking and preparation time has been put into these tracks. Sound generation and samples have been carefully matched so the frequencies don’t collide too much and there is enough pressure on all bands. The balance between the chaos and subtle melody / recurrent themes is also well chosen, and when you think you lost track of the composition, there is a small reminder of how you got there. And we’re still only talking about the first track, “Bibelots”.
“Occhi bistrati” is more relaxed and knows a few pads/string sounds. I wouldn’t call it rhythm, but plenty of staccato sounds could have been recorded in a kitchen or on a farm. The excursion has a friendly soundscape-like surreal character, and if you’ve ever been described, a sound clash: Just before the track becomes more creepy and guitar-like sounds enter the composition, it’s like field recordings at a farm being mixed with sounds recorded at the beach. Really nice. The final track, “Trasduzione (per Roger Caillois)”, is with its 08:02, the shortest and, in its composition, the most coherent. A minimal play of frequencies with a constant drone in the back and delay and high-pitched sounds. And while reading on Roger Caillois – even if it’s only a Wiki page – I am thankful for what I learn through art. This third track is my absolute favourite of this album.
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