Stefano PILIA
The suncrows fall and tree
SEDIMENTAL
sedcd 045 CD 2006
Italian guitarist Stefano Pilia is best known as a member of concrete rock outfit 3/4HadBeenEliminated. He has also been releasing solo recordings over the past few years. 2005's Healing memories and other scattering times saw Pilia interrogating his basic musical language, framing various playerly tactics, shuttling between guitar drones, melancholy melodies and post-Durutti Column pointillism. For The Suncrows fall and tree, he shifts his focus to composition with two untitled tracks. Pilia relies heavily on drones to do his bidding, and while the drone is one of the most over-subscribed tendencies in experimental music, he reinvigorates its often tired contours trough the intimacy he weaves in to his textural palette, applying unexpected touches that are bolstered by his’ drone temporal dissolution properties and structural sturdiness.
The opening piece has him slowly folding field recordings, full of quiet incident and shuffling clamour, into swells of higher minded sound. The second piece begins with crashing waves, a cliche of enviromental recordings, before evacuated sonorities slowly accumulated around a tonal centre. This is disrupted by deep piano notes and clusters, which serve as punctuation before Pilia plucks a dark cloud of groan and hum from the air. If the building blocks of Pilia’s compositions are predictable, he’s successful due to his ability both to recharge this resources trough adroit sound organisation and to drag the general field he works within-the drone- out of its complacent stupor. John Dale THE WIRE january 2007
The suncrows fall and tree
SEDIMENTAL
sedcd 045 CD 2006
Italian guitarist Stefano Pilia is best known as a member of concrete rock outfit 3/4HadBeenEliminated. He has also been releasing solo recordings over the past few years. 2005's Healing memories and other scattering times saw Pilia interrogating his basic musical language, framing various playerly tactics, shuttling between guitar drones, melancholy melodies and post-Durutti Column pointillism. For The Suncrows fall and tree, he shifts his focus to composition with two untitled tracks. Pilia relies heavily on drones to do his bidding, and while the drone is one of the most over-subscribed tendencies in experimental music, he reinvigorates its often tired contours trough the intimacy he weaves in to his textural palette, applying unexpected touches that are bolstered by his’ drone temporal dissolution properties and structural sturdiness.
The opening piece has him slowly folding field recordings, full of quiet incident and shuffling clamour, into swells of higher minded sound. The second piece begins with crashing waves, a cliche of enviromental recordings, before evacuated sonorities slowly accumulated around a tonal centre. This is disrupted by deep piano notes and clusters, which serve as punctuation before Pilia plucks a dark cloud of groan and hum from the air. If the building blocks of Pilia’s compositions are predictable, he’s successful due to his ability both to recharge this resources trough adroit sound organisation and to drag the general field he works within-the drone- out of its complacent stupor. John Dale THE WIRE january 2007
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