Though I've heard the formula before, it's impossible to disregard this album. Despite being another quiet and minimalist approach to electronic soundscaping, there's something special about the way these songs play themselves out and, in some cases, the integration of just a few key sounds adds up to startling beauty. Lido Lato is a double CD release from Greece's Poeta Negra label.Poeta Negra
The CDs differ from each other in slight ways. The first disc is a purely sound-oriented amalgam of synthetic pops, hisses, hiccups, and blurs while the second disc sounds like it could be performed live by a group of individuals (given the right equipment). "Amymoni P." and "Shaker S." begin the first disc with a wavering blend of distorted plastic expanding into infinity and a churning series of pseudo-melodies that barely escape the speakers. They're a perfect statement of intent and while I've heard similar compositions before, Coti has a unique way of arranging the sounds so that they play with eachother in ways that are unavoidably hypnotic. "Beben G.," for instance, rolls along in exactly the same way from beginning to end, but Coti adds a whole spectrum of sounds over this radiating harmony and ends up producing the illusion of movement. The manner in which the crystaline pops and hums fall in and out of existence is somewhat breathtaking and repeated listens only add to its beauty. There are numerous examples of excellent aural trickery to be heard throughout the first disc. It would have, by itself, stood comfortably as a great album with many highlights, but the second disc is the most attractive thing about Lido Lato. "Neige P." is the more rhythmic cousin to disc one's "Amymoni P.;" where one moans and bellows, the other skips along in staccato before loosening up and bleeding away in a whisper of piano and reverberation. The mixing of acoustic and electronic sound sources on disc 2 is absolutely superb. "Partito Per Sempre" coughs and eases along with the sound of escalating whines and old upright pianos hooked up to life support. The instruments never stand away from their buzzing counterparts, but they add an element that would've made the first disc even more exceptional and unique. "Beben P." stands out in my mind as one of the finest and most endearing songs I've heard this year. A simple melody played on what sounds like a toy keyboard gallops along clumsily over the sound of a baby attempting to sing and playing with wooden or plastic toys. I found myself pressing the back button on this song more than a few times before moving on to the final two pieces. "P. Strtch" closes out the album with the purity of strings moving like water over a faded and delicate ringing that escapes into the atmosphere. The way the violins and cellos take over the synthesizers and laptop productions is as elegant as can be and it serves as the perfect ending to an album that showcases the depths electronic music can reach. 
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