dessus oben alto up
Belfi & Reidy
dessus oben alto up
Boomkat Product Review:
Jules Reidy pairs up with Italian veteran Andrea Belfi, adding microtonal string chimes and modular latticework to Belfi's irregular percussive grooves.
Reidy's last few records have been near flawless exercises that stretched the possibilities of the guitar, breathing pop and kosmiche vapors into usually buttoned-up avant soundscapes. Belfi has also spent the last couple of decades developing a personal musical language, as evidenced on any one of his albums for labels like Room40, Miasmah and FLOAT.
Dedicated to the late Dean Roberts, 'dessus oben alto up' was recorded while the duo were on a residency at Berlin's Callie's, a non-profit exhibition space and sound studio in a repurposed 19th century machine factory. The experience gave them time to work out exactly how to work together, and from the first moments of 'dessus', it's quite clear they soon found their rhythm.
Belfi, who's been refining his percussive skills since he was a teenager, lays down a rhythm that's as textural as it is propulsive, brushing his kit to highlight the negative space. Using soft just intoned fingerpicking to bring us in slowly, Reidy allows the light to flicker into the space like a sunrise, turning their gentle chimes into organ-like groans before the piece wheezes to a close. This leisurely start makes 'oben' - a dense stew of drones, glittering arpeggios and pounding rhythms - hit like a brick to the face, but it's 'alto' that finds the duo hitting their stride. Belfi's on fine form here, playing tidal rolls while Reidy hammers their acoustic 12-string, using brassy analog synths to fill in the gaps. Mid-way through, the track changes character, and evolves into a cosmic-folk barn dance, with brittle, star-chasing synth blips that follow Reidy's strums and Belfi's limber 6/8 stomp.
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Boomkat Product Review:
Jules Reidy pairs up with Italian veteran Andrea Belfi, adding microtonal string chimes and modular latticework to Belfi's irregular percussive grooves.
Reidy's last few records have been near flawless exercises that stretched the possibilities of the guitar, breathing pop and kosmiche vapors into usually buttoned-up avant soundscapes. Belfi has also spent the last couple of decades developing a personal musical language, as evidenced on any one of his albums for labels like Room40, Miasmah and FLOAT.
Dedicated to the late Dean Roberts, 'dessus oben alto up' was recorded while the duo were on a residency at Berlin's Callie's, a non-profit exhibition space and sound studio in a repurposed 19th century machine factory. The experience gave them time to work out exactly how to work together, and from the first moments of 'dessus', it's quite clear they soon found their rhythm.
Belfi, who's been refining his percussive skills since he was a teenager, lays down a rhythm that's as textural as it is propulsive, brushing his kit to highlight the negative space. Using soft just intoned fingerpicking to bring us in slowly, Reidy allows the light to flicker into the space like a sunrise, turning their gentle chimes into organ-like groans before the piece wheezes to a close. This leisurely start makes 'oben' - a dense stew of drones, glittering arpeggios and pounding rhythms - hit like a brick to the face, but it's 'alto' that finds the duo hitting their stride. Belfi's on fine form here, playing tidal rolls while Reidy hammers their acoustic 12-string, using brassy analog synths to fill in the gaps. Mid-way through, the track changes character, and evolves into a cosmic-folk barn dance, with brittle, star-chasing synth blips that follow Reidy's strums and Belfi's limber 6/8 stomp.
Boomkat Product Review:
Jules Reidy pairs up with Italian veteran Andrea Belfi, adding microtonal string chimes and modular latticework to Belfi's irregular percussive grooves.
Reidy's last few records have been near flawless exercises that stretched the possibilities of the guitar, breathing pop and kosmiche vapors into usually buttoned-up avant soundscapes. Belfi has also spent the last couple of decades developing a personal musical language, as evidenced on any one of his albums for labels like Room40, Miasmah and FLOAT.
Dedicated to the late Dean Roberts, 'dessus oben alto up' was recorded while the duo were on a residency at Berlin's Callie's, a non-profit exhibition space and sound studio in a repurposed 19th century machine factory. The experience gave them time to work out exactly how to work together, and from the first moments of 'dessus', it's quite clear they soon found their rhythm.
Belfi, who's been refining his percussive skills since he was a teenager, lays down a rhythm that's as textural as it is propulsive, brushing his kit to highlight the negative space. Using soft just intoned fingerpicking to bring us in slowly, Reidy allows the light to flicker into the space like a sunrise, turning their gentle chimes into organ-like groans before the piece wheezes to a close. This leisurely start makes 'oben' - a dense stew of drones, glittering arpeggios and pounding rhythms - hit like a brick to the face, but it's 'alto' that finds the duo hitting their stride. Belfi's on fine form here, playing tidal rolls while Reidy hammers their acoustic 12-string, using brassy analog synths to fill in the gaps. Mid-way through, the track changes character, and evolves into a cosmic-folk barn dance, with brittle, star-chasing synth blips that follow Reidy's strums and Belfi's limber 6/8 stomp.
Boomkat Product Review:
Jules Reidy pairs up with Italian veteran Andrea Belfi, adding microtonal string chimes and modular latticework to Belfi's irregular percussive grooves.
Reidy's last few records have been near flawless exercises that stretched the possibilities of the guitar, breathing pop and kosmiche vapors into usually buttoned-up avant soundscapes. Belfi has also spent the last couple of decades developing a personal musical language, as evidenced on any one of his albums for labels like Room40, Miasmah and FLOAT.
Dedicated to the late Dean Roberts, 'dessus oben alto up' was recorded while the duo were on a residency at Berlin's Callie's, a non-profit exhibition space and sound studio in a repurposed 19th century machine factory. The experience gave them time to work out exactly how to work together, and from the first moments of 'dessus', it's quite clear they soon found their rhythm.
Belfi, who's been refining his percussive skills since he was a teenager, lays down a rhythm that's as textural as it is propulsive, brushing his kit to highlight the negative space. Using soft just intoned fingerpicking to bring us in slowly, Reidy allows the light to flicker into the space like a sunrise, turning their gentle chimes into organ-like groans before the piece wheezes to a close. This leisurely start makes 'oben' - a dense stew of drones, glittering arpeggios and pounding rhythms - hit like a brick to the face, but it's 'alto' that finds the duo hitting their stride. Belfi's on fine form here, playing tidal rolls while Reidy hammers their acoustic 12-string, using brassy analog synths to fill in the gaps. Mid-way through, the track changes character, and evolves into a cosmic-folk barn dance, with brittle, star-chasing synth blips that follow Reidy's strums and Belfi's limber 6/8 stomp.
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Boomkat Product Review:
Jules Reidy pairs up with Italian veteran Andrea Belfi, adding microtonal string chimes and modular latticework to Belfi's irregular percussive grooves.
Reidy's last few records have been near flawless exercises that stretched the possibilities of the guitar, breathing pop and kosmiche vapors into usually buttoned-up avant soundscapes. Belfi has also spent the last couple of decades developing a personal musical language, as evidenced on any one of his albums for labels like Room40, Miasmah and FLOAT.
Dedicated to the late Dean Roberts, 'dessus oben alto up' was recorded while the duo were on a residency at Berlin's Callie's, a non-profit exhibition space and sound studio in a repurposed 19th century machine factory. The experience gave them time to work out exactly how to work together, and from the first moments of 'dessus', it's quite clear they soon found their rhythm.
Belfi, who's been refining his percussive skills since he was a teenager, lays down a rhythm that's as textural as it is propulsive, brushing his kit to highlight the negative space. Using soft just intoned fingerpicking to bring us in slowly, Reidy allows the light to flicker into the space like a sunrise, turning their gentle chimes into organ-like groans before the piece wheezes to a close. This leisurely start makes 'oben' - a dense stew of drones, glittering arpeggios and pounding rhythms - hit like a brick to the face, but it's 'alto' that finds the duo hitting their stride. Belfi's on fine form here, playing tidal rolls while Reidy hammers their acoustic 12-string, using brassy analog synths to fill in the gaps. Mid-way through, the track changes character, and evolves into a cosmic-folk barn dance, with brittle, star-chasing synth blips that follow Reidy's strums and Belfi's limber 6/8 stomp.
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