Three organic experiences
AGLAIA is a musical project performed by Gino Fioravanti and Gianluigi Toso. Gino Fioravanti is at the same time: therapist, writer, painter and musician and his touch with electronic music perfectly blends human and cosmic/amniotic. His writings and his studies go thorugh different fields like Alchemy, mithology, ortho-bionomy. Gianluigi Toso is a musician and a back-school teacher. He performes different musical styles, and, together with Gino Fioravanti, he has realized many cd mainly for mind and spirit.
"The concept of AGLAIA is to create long musical instants,
apparently motionless, but with inside the movement of undreds of nuances,
micro-variations, pulsations. A fluid, sonoruous tapestry with a never ending
motion. The music was thought like a magma of raw materials to refine throught
an infinite number of sonorous passages. The listening of T.O.E. behave towards
the micro-particle that compose our subtle individual plot, in a world where
nothing is firm and nothing is really moving."
Label Press
Sometimes it seems all too easy to make
atmospheric drift music. Your friends tell you, "Hey, you could do this
yourself and save a lot of money." Or, as is too often the case, a favorite
artist pumps out material with little attention to self-editing -- leading you to
believe you are privy to every musical move the artist has ever made, for better
or worse. There's a lot of ambient music available, and the more you hear, the
more confusing it can be to separate what is good, worthwhile work, and what is
simple noodling on electronics and synth.
This brings me to Aglaia, an Italian duo previously unknown to me. Their CD
"Three Organic Experiences" appeared on Hic Sunt Leones this
year -- a
label I normally hunt down without question. Two previously unknown artists,
purchased because of label loyalty rather than any hint of quality from sound
samples. The usual "out there" copy from Hic Sunt Leones. It sounds
like a recipe for disappointment.
Instead, what we have is, in my opinion, the finest atmospheric drift album
created in 2003. "Three Organic Experiences" is comprised of three
mammoth tracks, all stylistically related but separate compositions. The effect
created as a totality is akin to a gradual sinking beneath the sea, floating
ever down, to eventually rest on ocean's bottom -- urrounded by a beautiful,
submerged garden populated by radiant, sea life. Perhaps the strength of this
album is how composed it all seems, even though at first listen is appears the
tracks meander prettily till their close. However, with repeated listens (in
itself a pleasant and welcoming process) one cannot help but notice the forward
motion of each track to an eventual, shivers-inducing climax.
"The Mysterious Fish Named Kun" waxes and wanes like tidal movement,
embellished with heavily-sustained processed flute, strange underwater noises,
lullaby synth, tinkling bells, and rainstick electronic effects. We've dipped
into this other ocean, a warm, inviting environment, searching for the
mysterious fish. Instead, we find a shimmering world, alien in character, but
completely benevolent. This is a slow journey; one has all the time in the world
to admire the gradual drifting-by of fantastic organisms, resplendently bright
and colorful. In fact, though outwardly this music appears quite static, it is
constantly changing, rather like the natural oceans that comprise much of our
planet's surface area. This is twenty-three minutes of pure oceanic bliss.
The next track, "The Tribe of the Flying Monkeys" is somewhat more
rooted on land. However, the constant undercurrent of rushing water is present,
creating an unquestionable relationship with track one. This track has haunting
synth overlaid upon deep zither tones and mesmerizing water effects. The
processed flute is also here, a welcome, grounding influence along with the
plucking of an unknown stringed instrument. The album begins to take a musical
travelogue aspect, as if we have come to ancient Earth to admire prehistory in
its innocent beauty, before it was manipulated by human hands. The production is
lush throughout this CD, creating an even more affecting environment for losing
oneself in.
Finally, we are brought to "Seven Ancient Glaciers", the capstone
track. Twenty-seven minutes of beautiful muted vocalizations, overtone chant,
water effects conjuring images of rivulets flowing from a vast frozen body,
beautiful synth atmospheres, rainstick, and gonging windchimes. This is
inquestionably the finest track on the album, one of supreme beauty, as if we
are viewing the gradual creation of a new world uncovered from giant ice floes.
Truly, it is the little details of a track like this, a shaker here, a gonging
there, that make this a completely engaging experience. These tiny, well-placed
details make for a more satisfying listen -- Aglaia have carefully crafted each
track to function more like ancient folksongs sung by prehistoric life in a
language heretofore forgotten. This is the sound of the Earth before language
and science, before man's labeling hands, before even mythological renderings of
creation. It is the sound of Earth trilling to itself in an unending, constant
now. The immersive effect of this track (and the whole album) is powerful,
almost magical.
Aglaia have created a truly rare thing with "Three Organic Experiences".
We are used to hearing countless good ambient titles from all the usual suspects;
even this year we have been treated to four separate CDs by Steve Roach on a
similar theme. All of these various titles are, in my opinion, dwarfed by the
innocent, spiritual grandeur of Aglaia's work here. This is an album that will
reward careful, repeated listens -- indeed, this CD demands repeated listens to
unlock all of the tiny, myriad treasures it has to offer. I give this truly
staggering work my highest recommendation. While 2003 still has some months to
go, I will go so far as to write this will occupy the spot, for me, as best
ambient atmospheric title of 2003. I don't throw this distinction down lightly.
In my opinion, this work is just that good
Brian Bieniowski / ambientreview.com