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AGLAIA - Intangible Opacity

Format: CD
Label & Cat.Number: Hic Sunt Leones HSL 072
Release Year: 2014
Note: early morning ambience, filled with glistening light and weightlessness, with inherent gracile movements of circling drones, multi-layered and organic... 9 tracks (63+ min) of really beautiful electronic atmospherics in the way of CELER, VIDNA OBMANA, or OÖPHOI... finally in stock this AGLAIA album from 2014
Price (incl. 19% VAT): €15.00

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"Aglaia is a great project from Italy, but probably still not appreciated as much as it deserves. The artist releases his albums in Stefano Musso’s Hic Sunt Leones, and it seems that his work remains in Alio Die’s shadow. Aglaia could be even bigger, but I think that Gino Fioravanti, sometimes aided by Gianluigi Toso, doesn’t really care about worldwide recognition – I figure he’s fine with his current position.

By all means however, Aglaia isn’t an Alio Die clone. Although the points of convergence can be easily noticed, Aglaia sounds less organic and prefers to focus on electroacoustics and the creation of an atmosphere by the use of more or less sophisticated electronics. This is no different in the case of “Intangible Opacity”, one of the two Aglaia albums recently published by Hic Sunt Leones.

On “Intangible Opacity” Gino Fioravanti dares to visit the place where the Earth’s atmosphere ends and the infinity of space begins, following the physical and chemical processes that occur in the ionosphere. The sound is based on warm but at the same time somehow distanced synthetic textures, and classical “el-music” as we used to say in Poland. I suspect that Fioravanti didn’t use any other instruments or field recordings on the album. Synths only.

Despite the strict nature of the music, it has a soul. Composed of zeros and ones, enchanted in the tiny box filled with chips and integrated circuits, but not allowing for the treatment of “Intangible Opacity” as only a virtually emotional, but in fact dry and mathematical record of the aforementioned processes that continually start, progress and end tens of thousands of kilometers above our heads. There’s no blackness, the sound is painted with thousands of hues, the blue and green of the earth being the parent colors. The title composition, the second to last, probably contains the most decent amount of space; the horizon seems to stretch widely, though all the tracks remain on a relatively equal level.

After several listens, I conclude that there are earlier Aglaia releases which I cherish more and will come back to more often in the future. I miss some element raging on the surface of Mother Earth. A wind shaking the barley, or wild fires. A thimble of organic sound appears in “Protonosfera”, the last one: Gino Fioravanti, at least for a while, gets back to where you can breathe fresh air, as if in spite of the title.

It’s still worth buying a ticket to the place from where there’s still a possibility to return. Aglaia still holds the fashion." [Stark / Santa Sangre]