Dissection Lente d'un Piano Rouillé
Anaïs Tuerlinckx
Dissection Lente d'un Piano Rouillé
Boomkat Product Review:
Inventive “inside piano” styles from Brussels-via-Berlin artist Anaïs Tuerlinckx, debuting on record after years cutting her teeth in improv and experimental classical scenes
Picked up by the ever searching Vlek label, ‘Dissection Lente d'un Piano Rouillé’ exhibits the extents of Anaïs’ focussed, holistic practice purely centred around the piano’s frame and strings. Using a variety of strategies - tickling, rubbing, striking, plucking - the Belgian artist animates her instrument in captivating ways that bring out its more unusual sonorities and voices, with wickedly unquantised and free results reminding us of work by everyone from Reinhold Friedl to Harry Bertoia, Leila Bordreuil and Cam Deas in the process.
The two shorter, brutal works bookend more spacious, durational pieces, acting as bitter entrée and gut-churning ends to the main course. Atonal and grinding, opener ‘Grattements de Méteux sur Organe Usé’ surely reminds us the thrills of Reinhold Friedl’s ‘Inside Piano’, and the closing ‘Pulsations Métalliques sur Cordes Sâles’ has us spellbound with its resonant thrum. At the album’s core however, she coaxes out a more sensitive spectra of sounds from tentative strikes to shimmers reminding of Dariush Dolat-Shahi’s electronic music for Tar and Sehtar, while the reverberant mass of ‘Vibrations Solitaires et Frottements sur la Matière’ is surely comparable with the metallic haze and drone of Harry Bertoia’s musical sculptures.
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Boomkat Product Review:
Inventive “inside piano” styles from Brussels-via-Berlin artist Anaïs Tuerlinckx, debuting on record after years cutting her teeth in improv and experimental classical scenes
Picked up by the ever searching Vlek label, ‘Dissection Lente d'un Piano Rouillé’ exhibits the extents of Anaïs’ focussed, holistic practice purely centred around the piano’s frame and strings. Using a variety of strategies - tickling, rubbing, striking, plucking - the Belgian artist animates her instrument in captivating ways that bring out its more unusual sonorities and voices, with wickedly unquantised and free results reminding us of work by everyone from Reinhold Friedl to Harry Bertoia, Leila Bordreuil and Cam Deas in the process.
The two shorter, brutal works bookend more spacious, durational pieces, acting as bitter entrée and gut-churning ends to the main course. Atonal and grinding, opener ‘Grattements de Méteux sur Organe Usé’ surely reminds us the thrills of Reinhold Friedl’s ‘Inside Piano’, and the closing ‘Pulsations Métalliques sur Cordes Sâles’ has us spellbound with its resonant thrum. At the album’s core however, she coaxes out a more sensitive spectra of sounds from tentative strikes to shimmers reminding of Dariush Dolat-Shahi’s electronic music for Tar and Sehtar, while the reverberant mass of ‘Vibrations Solitaires et Frottements sur la Matière’ is surely comparable with the metallic haze and drone of Harry Bertoia’s musical sculptures.
Boomkat Product Review:
Inventive “inside piano” styles from Brussels-via-Berlin artist Anaïs Tuerlinckx, debuting on record after years cutting her teeth in improv and experimental classical scenes
Picked up by the ever searching Vlek label, ‘Dissection Lente d'un Piano Rouillé’ exhibits the extents of Anaïs’ focussed, holistic practice purely centred around the piano’s frame and strings. Using a variety of strategies - tickling, rubbing, striking, plucking - the Belgian artist animates her instrument in captivating ways that bring out its more unusual sonorities and voices, with wickedly unquantised and free results reminding us of work by everyone from Reinhold Friedl to Harry Bertoia, Leila Bordreuil and Cam Deas in the process.
The two shorter, brutal works bookend more spacious, durational pieces, acting as bitter entrée and gut-churning ends to the main course. Atonal and grinding, opener ‘Grattements de Méteux sur Organe Usé’ surely reminds us the thrills of Reinhold Friedl’s ‘Inside Piano’, and the closing ‘Pulsations Métalliques sur Cordes Sâles’ has us spellbound with its resonant thrum. At the album’s core however, she coaxes out a more sensitive spectra of sounds from tentative strikes to shimmers reminding of Dariush Dolat-Shahi’s electronic music for Tar and Sehtar, while the reverberant mass of ‘Vibrations Solitaires et Frottements sur la Matière’ is surely comparable with the metallic haze and drone of Harry Bertoia’s musical sculptures.
Boomkat Product Review:
Inventive “inside piano” styles from Brussels-via-Berlin artist Anaïs Tuerlinckx, debuting on record after years cutting her teeth in improv and experimental classical scenes
Picked up by the ever searching Vlek label, ‘Dissection Lente d'un Piano Rouillé’ exhibits the extents of Anaïs’ focussed, holistic practice purely centred around the piano’s frame and strings. Using a variety of strategies - tickling, rubbing, striking, plucking - the Belgian artist animates her instrument in captivating ways that bring out its more unusual sonorities and voices, with wickedly unquantised and free results reminding us of work by everyone from Reinhold Friedl to Harry Bertoia, Leila Bordreuil and Cam Deas in the process.
The two shorter, brutal works bookend more spacious, durational pieces, acting as bitter entrée and gut-churning ends to the main course. Atonal and grinding, opener ‘Grattements de Méteux sur Organe Usé’ surely reminds us the thrills of Reinhold Friedl’s ‘Inside Piano’, and the closing ‘Pulsations Métalliques sur Cordes Sâles’ has us spellbound with its resonant thrum. At the album’s core however, she coaxes out a more sensitive spectra of sounds from tentative strikes to shimmers reminding of Dariush Dolat-Shahi’s electronic music for Tar and Sehtar, while the reverberant mass of ‘Vibrations Solitaires et Frottements sur la Matière’ is surely comparable with the metallic haze and drone of Harry Bertoia’s musical sculptures.
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