Prolific percussionist Valentina Magaletti follows March's ace "La Tempesta Colorata" with a concréte-heavy collaboration with Music à la Coque founder Pino Montecalvo. Surrealist, spannered material that matches spliced library music tape loops with powerful drumming and obscure movie samples - RIYL Broadcast, Metal Preyers, Czech New Wave soundtracks and the Fonal label.
Valentina Magaletti is unstoppable right now - seemingly moments after the release of her virtuosic A Colourful Storm tape, she takes an entirely different approach on "None Corsa", exploring dimly-lit folk, library music and musique concréte forms. It's a collaboration with Italian musician Pino Montecalvo, who's best known for playing with '90s avant punks Bz Bz Ueu, and follows two tapes released last year on Montecalvo's own Music à la Coque imprint. Cloudy and unpredictable, the music speaks to the two musicians' decades of experience and avoids the usual genre traps - Magaletti's drumming sounds fresh and vital doused in a ferric slop of movie samples, snatched classical music loops and bizarre library music bumps. The majority of the album is pictured in miniature, with tracks barely hitting over a minute or two in length.
Opener 'Bucotrazione' sounds sunnier than a terrace in Southern Italy, and quickly rolls through ideas, juxtaposing freeform drumming with balloon squeaks, freight train bells, piano flourishes, orchestral horns and accordion. It's like hearing three radios playing at once alongside a drummer in a side room - but it's over so quickly you're barely able to comprehend the dissonance. 'Pink Motrice' is more propulsive, with submerged melodies underpinning a powerful Supersilent-ish beat from Magaletti, while the short, sharp 'Soffritto Per Le Muse' is a blink-and-you'll-miss-it textural blast of disorienting tape noise and insectoid buzzing. Tracks like 'Sleep Dear Mushee' and the substantial 'Stay Anonymous' are a blast of cool air, looking to lounge music rather than concréte: the former is a low-slung, psychedelic groover and the latter balances rolled xylophones with clanking bells.
Final track 'The Last Shiny Bones of the Duno Ghost' is the album's most startling masterwork though, clocking in at over 15-minutes and dragging us through Magaletti and Montecalvo's sonic universe by the scruff of our neck. In long form, the duo are able to pace their ideas more slowly, and they let the track develop from heavily-effected tape-dubbed percussion and sampled groans, through near silence, slopped horror-movie SFX and FM radio static, cautious piano and frothy film noir percussion. It's a widescreen voyage that's a perfect addition to Magaletti's rapidly-growing canon. If you're into Broadcast's genius "Microtronics" volumes, Finders Keepers' Jean Rollin soundtracks, Luc Ferrari, or the outer reaches of the Stroom catalogue, you're gonna need to sink yer molars into this one.