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TONIUTTI, GIANCARLO & TIZIANO DOMINIGHINI - Counterchronology

Format: CD Label & Cat.Number: FinalMuzik FME7 Release Year: 2015 Note: earliest TONIUTTI recordings from 1979 (in collab with T. DOMINIGHINI) for the first time released => electric and acoustic instruments and noises, recorded inside a glassworks in Italy, two impro sessions based on electric chord organ + guitar, but also various instruments + objects such as bells, pipe, flutes, metals, sudanese harp, water, bottles, rods, tambourines, gongs, a workbench, etc. were used, with the incredible glassworks reverberation effect... lim. 300, BACK IN STOCK LAST COPIES Price (incl. 19% VAT): €13.00 More Info "Unreleased very first recordings from 1979 by Giancarlo Toniutti together with Tiziano Dominighini. His very first approach on electric and acoustic instruments and noises. Recovered and mixed by Giancarlo Toniutti 2014. Limited to 300 copies." [label info] www.finalmuzik.com "The only straightforward statement found on Counterchronology's densely worded liner notes is downright blunt: "Tiziano is dead." Aside from that one somber fact, the archeological ruminations of this recording are laboriously complex; but here's what we can gather. In September of 1993, the Italian vanguardist Giancarlo Toniutti came across two cassettes that contained material dating as far back as 1979, marking some of his earliest recording then in concert with a character named Tiziano Dominighini. He shelved them once again for another decade when he rediscovered the material to hold a number of open-ended / freeform recordings of Giancarlo and Tiziano clamoring about the glassworks shop run by Dominghini's father along with various environmental recordings, sparse yet maltreated guitar splutter, automatic writings, art brut actions, and long-form chord organ drones. In repurposing the musical interludes and provisional collages from those tapes, Toniutti sought to aggregate the sounds in such a manner as to maintain the something of an integrity from the originals while configuring the more naive gestures with the hand of a mature electroacoustic composer. On the near 34-minute first track, Toniutti weaves haptic events in varying degrees of density upon a bed of those long-form organ chords, with unhinged filter sweeps diving deep into cascading deep low-end rumblings. There's an extemporaneous psychedelic quality to much of the percussive burblings that hold aesthetic similarities to Angus MacLise, AMM, Z'ev, certain facets to the early Nurse With Wound continuum, and the most shambolic / abstract participants of the global freakfolk explosion from a couple years back. The shorter 10-minute second piece slowly blossoms from a deep bellowing thrum with desolated sibilance into a frenzied clamor on junked metal accompanied by distant flutes and strange utterances, both detouring from and complementing the first piece quite nicely. As rewarding as he is challenging, Giancarlo Toniutti continues to impress." [Aquarius Records]