Last Visible Dog
Taking sounds, samples and sections of instrumentation from differentinformal sessions and sources, choosing the most appropriate or each,and putting them together as a coherent whole is not as easy thing tomanage and often all that’s left is an obvious mishmash of elementsbetter left as individual tracks. With this piece, Rinaldi has createdan extended mood of recollections that flows between the precise(acoustic guitar, piano and violin) and the vague (drones, clicks andpeace) with an overall feeling of looseness and warmth. This abstractbed allows sections of sound to come and go in the mix like oncetangible thoughts.
It’s difficult to pinpoint Rinaldi’s exact technique because at timesit’s obvious that the music has moved somewhere else entirely and othertimes the transition is utterly seamless and it still sounds perfect;it never feels random or contrived though its obviously one of the twoat certain points. There are times when the parts flow into each otherbut more often than not there is silence and the sound of open airbetween them. It takes quite a bit of skill, nerve and sincerity tobegin an LP with the sound of birdsong, sunshine and laconic alfrescoplaying and even more to carry it off for over forty minutes.
There are peaks of beautiful loose strumming running over halfsung broken vocal lines and many unidentifiable sounds (the creaks,twitters and jangles) and even a distant, but very real, brieflyringing telephone. A plectrum scratches the notches on a guitars metalstrings as wooden floors creak under the weight of someone walking byand Birds fall silent as piano notes ring out and are given time tofade back into silence before ringing out again. Hoarse Frenzyis music and melody composed on an abstract canvas of breathing spaceand empty mornings and succeeds in making a collection of ephemeralsounds into a lasting work of real beauty.
samples:
Read More