This' the first of the final chapters of the 102 vinyl series on Phonometak / Wallace records, as you can easily notice by giving a check to the catalogue the majority of the musicians covered are quite well-known. On the first side of this slab of vinyl we've got living legend Evan Parker on saxophone and Walter Prati on cello plus electronics, they've been frozen during two different live sets in Vancouver and in Verona. The opening track is a monochord mantra that goes from hypnotic to lightly obsessive, circular breathing and droning sensation. The second track is my favorite one and is driven by a more than inspired Parker that crosses a path he knows by heart, the mixdown sees Prati a bit behind the scenes but the global result is damn good, abstract and a bit jazzy. On the other side of the 10" I'm glad to mention there's that Lukas Ligeti I've loved so much in his "Williamsbourgh sonatas" together with Massimo Pupillo and Gianni Gebbia. Orecchia is an interesting musician, his touch on guitar and electronics is so elegant that he barely plays ambient music, he never sails on the drumming he moves in unison with it. The same approach has been used also for the second song in which it's hard to distinguish electronic drumming from real percussions and the recording with that "acoustic" feel helps in the melting process. The outro goes back to a sort of quasi-ambient mood, I can't say nothing but lovely!.

The eternal return of Gianluca Becuzzi, right after a solo tape for the Silentes Tapestry collection and a new Grey History release here we go with a new full length." Eternally now" comes out on Lisca records, this young italian label now has a catalogue with a good number of interesting releases, they produce mostly electronic and experimental music and they slowly got my attention with what they've put out so far. Somehow this new solo release by Becuzzi has brought my mind back to his Kinetix days, but this man hailing from Tuscany beside developing his own personal style has evolved considerably, I think his many collaborations with Fabio Orsi have been fruitful in terms of musical evolution. Let's say Becuzzi has rediscovered his own roots, sure he's not left his electronic contemporary style back home, but you can bet these five tracks have that same feel he has on the Silentes tape even if we're speaking about two different works. While on the tape he was working on something heavier and way more tribal, here Becuzzi opts for something more dilated, he also gives the impression this music you're listening to is coming from afar. Some reverbed metallic percussions/sounds, some electronic sounds, a "distant menace" but its slowly approaching. Becuzzi's industrial background is imbuing everything in an interesting way: "lost in an industrial forest...while somebody is coming to get ya!".

As you probably already know Grey History is Gianluca Becuzzi and Fabio Orsi together they've a plethora of releases under their belt, this project alone has arrived at its third chapter. After two records the sound is still the same, is it a mistake? A problem? No way! With Grey Anatomy the two italian artists intentionally follow the same power noise, industrial in your face trajectory. The project is quite clear also if you look at the 7" shaped cover and if you read the song titles: it's always bad taste and ignorance diluted with a great dose of irony and those who can't get it should better leave it, honestly it's sad how a lot of people never got the irony of some industrial folks like Bennet or Whitehouse themselves, sure they're are/have been outrageous and provocative but with a good dose of irony. The sound profile is always top class as you know it happens with two good musicians, also the tracks have the usual good structure, so soft parts, ironic parts and power blasts have been alternated to make you feel like you're jumping up and down on a roller coster with no fasten belt. The song titles are funny as always, you just have just to decide if you prefer a title like "Queers of god" or something like "the diameter of papal rectum".

Scanner, I think if you haven't spent the last decade or more on Mars, I'm sure you know his career as an electronic musician, David Rothemberg plays clarinet (here he pays duty also with a computer), he's a jazzist with a plethora of releases out on label like Terranova and ECM that itself says a lot. The result is 'delicious' and is equal to the sum of its parts, infact it's a jazzy-electronic release with a nightly atmosphere and a strong phatos. Robin Rimbaud's touch is quite recognizable and at the same time he's worked in a really quiet way, at the same time an inspired Rothemberg warms the tracks up with a soft and elegant velvet mood for his solos. Since I've mentioned ECM I'd better say this work sounds a lot like some electronic oriented releases by Jan Garbarek or Nil Peter Molver or other jazz musician on the same label, but this collaboration sound much better, both in terms of inspiration and for the soft ambiance it recreates. Its not exactly an experimental cd, or at least is not something barely comparable to Wolf Eyes plus Braxton or John Wiese plus Evan Parker, it exactly sounds like some similar works of the genre you probably have heard before, but as I've said the songs they've put together on this slab of plastic are quite excellent and the melodies are really intense. If you're looking for elegant, relaxing music for a night flight over the city, well you'll probably love this one.

Trophies is a trio, I'm sure those of you who have an interest in experimental music will recognize the name of Alessandro Bosetti among the other players. On this cd Bosetti on voice, electronics and behind the mixing desk, his comrades in Trophies are Kenta Nagai on guitar and Tony Bruck banging the drums. The result is quite singular somehow and that itself should grant a listening and believe me after having listened to a millions releases all sounding the same, it's a beautiful surprise to find something like that. I'm not saying this cd will change your life but sure, after a few seconds of listening, you will agree with me it's not your ordinary release. How does this "become object of daily use" sounds like? Hard question for a firm answer, let's say it's one of the few work that reminded me of Harry Cow for real, a possible 2011 version of Fred Frith and friends? Maybe...Trophies follow the same weird and personal path. This release pays an homage to the Canterbury sounds, but it's mostly avant-jazzy music with a weird electronic edge, quite often the soft light singing of Bosetti follows guitars not while the drum pulse in swinged jazzy way. The music is not odd not even dark, it's simply strange, but as I have said the combination and the use of electronics here and there is strange. Nice work guys!.