Heith
Lo zoo di venere
Boomkat Product Review:
Ahead of a rumoured forthcoming debut for PAN, Heith’s archival deep dive ‘Lo zoo di venere’ limns his mesmerising electro-acoustic flux of chamber classical and folk in post-rave dimensions for Haunter. Genius outsider electronics for fans of Shapednoise, Porter Ricks, Rashad Becker, Sote.
'Lo zoo di Venere' ("The Venus Zoo") takes its name from the Italian version of Peter Greenaway's covertly influential 1985 masterpiece "A Zed & Two Noughts". It's an appropriate reference too, the film is a sumptuous deconstruction of classical literature and art that hinges around concepts of death and decomposition - Guerrini's album feels similarly temporal, a set of music that's both steeped in European history and delightfully open-minded and open-ended. This is most evident on the delicate 'hashashin (for Asmir)', where Guerrini matches minimally processed lute sounds with operatic vocals, using precise DSP elements to point into another universe from a Medieval platform - in many ways, it's peak Greenaway: lusciously lit and finely decorated, packed with hidden messages and layered meaning.
Guerrini's ability to exist outside of the timeline is impressive from the outset, as he swiftly transitions from the plodding Lubomyr Melnyk dedication 'I've always found it somewhere else' to 'What You Take', a stuttering, brain-altering synapse-loosener that exists in the same sonic space as Porter Ricks' latter-day digi-dub subversions. Lengthy composition 'Genesis' might be the album's eye-of-the-duck, where all of Guerrini's influences can be clearly perceived; building over staccato FM synth glock chimes, the Italian producer spreads unsettling dissonant strings, gruesome distorted fuzz and orchestral instrumental elements that sound as if they're being radioed in from another era entirely. It's music that carefully stitches together pre-baroque religious music with 20th century minimalism and industrial noise tape muckiness, doing so with an air of decorative nuance that's unmistakably Italian.
Egyptian artist Kareem Lotfy steps up for an assist on the Ghost Lemurs Of Madagascar composition 'Gorilla Glue', elevating loosely strummed acoustic guitar flutters into elegiac synth clouds and jagged digital hotknives, while 'Mushrooms (palestrian)', recorded at Berghain's Säule basement in 2008, adds another facet to Guerrini's noise, tying a lilting illbient rhythm to whirring machine drones and THC-addled samples.
From beginning to end, 'Lo zoo di Venere' grabs us by the senses and rarely lets up, forcing us to consider duration, texture, tradition, modernity, light and color. Cinematic is an overused term, but Guerrini's sound is so visual and so sharply edited that it's hard not to see a parallel - this ain't a soundtrack to some imaginary movie, it's a celebration of possibility that stretches an arm out into the past to launch into the unknown.
Huge recommendation.
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Boomkat Product Review:
Ahead of a rumoured forthcoming debut for PAN, Heith’s archival deep dive ‘Lo zoo di venere’ limns his mesmerising electro-acoustic flux of chamber classical and folk in post-rave dimensions for Haunter. Genius outsider electronics for fans of Shapednoise, Porter Ricks, Rashad Becker, Sote.
'Lo zoo di Venere' ("The Venus Zoo") takes its name from the Italian version of Peter Greenaway's covertly influential 1985 masterpiece "A Zed & Two Noughts". It's an appropriate reference too, the film is a sumptuous deconstruction of classical literature and art that hinges around concepts of death and decomposition - Guerrini's album feels similarly temporal, a set of music that's both steeped in European history and delightfully open-minded and open-ended. This is most evident on the delicate 'hashashin (for Asmir)', where Guerrini matches minimally processed lute sounds with operatic vocals, using precise DSP elements to point into another universe from a Medieval platform - in many ways, it's peak Greenaway: lusciously lit and finely decorated, packed with hidden messages and layered meaning.
Guerrini's ability to exist outside of the timeline is impressive from the outset, as he swiftly transitions from the plodding Lubomyr Melnyk dedication 'I've always found it somewhere else' to 'What You Take', a stuttering, brain-altering synapse-loosener that exists in the same sonic space as Porter Ricks' latter-day digi-dub subversions. Lengthy composition 'Genesis' might be the album's eye-of-the-duck, where all of Guerrini's influences can be clearly perceived; building over staccato FM synth glock chimes, the Italian producer spreads unsettling dissonant strings, gruesome distorted fuzz and orchestral instrumental elements that sound as if they're being radioed in from another era entirely. It's music that carefully stitches together pre-baroque religious music with 20th century minimalism and industrial noise tape muckiness, doing so with an air of decorative nuance that's unmistakably Italian.
Egyptian artist Kareem Lotfy steps up for an assist on the Ghost Lemurs Of Madagascar composition 'Gorilla Glue', elevating loosely strummed acoustic guitar flutters into elegiac synth clouds and jagged digital hotknives, while 'Mushrooms (palestrian)', recorded at Berghain's Säule basement in 2008, adds another facet to Guerrini's noise, tying a lilting illbient rhythm to whirring machine drones and THC-addled samples.
From beginning to end, 'Lo zoo di Venere' grabs us by the senses and rarely lets up, forcing us to consider duration, texture, tradition, modernity, light and color. Cinematic is an overused term, but Guerrini's sound is so visual and so sharply edited that it's hard not to see a parallel - this ain't a soundtrack to some imaginary movie, it's a celebration of possibility that stretches an arm out into the past to launch into the unknown.
Huge recommendation.
Boomkat Product Review:
Ahead of a rumoured forthcoming debut for PAN, Heith’s archival deep dive ‘Lo zoo di venere’ limns his mesmerising electro-acoustic flux of chamber classical and folk in post-rave dimensions for Haunter. Genius outsider electronics for fans of Shapednoise, Porter Ricks, Rashad Becker, Sote.
'Lo zoo di Venere' ("The Venus Zoo") takes its name from the Italian version of Peter Greenaway's covertly influential 1985 masterpiece "A Zed & Two Noughts". It's an appropriate reference too, the film is a sumptuous deconstruction of classical literature and art that hinges around concepts of death and decomposition - Guerrini's album feels similarly temporal, a set of music that's both steeped in European history and delightfully open-minded and open-ended. This is most evident on the delicate 'hashashin (for Asmir)', where Guerrini matches minimally processed lute sounds with operatic vocals, using precise DSP elements to point into another universe from a Medieval platform - in many ways, it's peak Greenaway: lusciously lit and finely decorated, packed with hidden messages and layered meaning.
Guerrini's ability to exist outside of the timeline is impressive from the outset, as he swiftly transitions from the plodding Lubomyr Melnyk dedication 'I've always found it somewhere else' to 'What You Take', a stuttering, brain-altering synapse-loosener that exists in the same sonic space as Porter Ricks' latter-day digi-dub subversions. Lengthy composition 'Genesis' might be the album's eye-of-the-duck, where all of Guerrini's influences can be clearly perceived; building over staccato FM synth glock chimes, the Italian producer spreads unsettling dissonant strings, gruesome distorted fuzz and orchestral instrumental elements that sound as if they're being radioed in from another era entirely. It's music that carefully stitches together pre-baroque religious music with 20th century minimalism and industrial noise tape muckiness, doing so with an air of decorative nuance that's unmistakably Italian.
Egyptian artist Kareem Lotfy steps up for an assist on the Ghost Lemurs Of Madagascar composition 'Gorilla Glue', elevating loosely strummed acoustic guitar flutters into elegiac synth clouds and jagged digital hotknives, while 'Mushrooms (palestrian)', recorded at Berghain's Säule basement in 2008, adds another facet to Guerrini's noise, tying a lilting illbient rhythm to whirring machine drones and THC-addled samples.
From beginning to end, 'Lo zoo di Venere' grabs us by the senses and rarely lets up, forcing us to consider duration, texture, tradition, modernity, light and color. Cinematic is an overused term, but Guerrini's sound is so visual and so sharply edited that it's hard not to see a parallel - this ain't a soundtrack to some imaginary movie, it's a celebration of possibility that stretches an arm out into the past to launch into the unknown.
Huge recommendation.
Boomkat Product Review:
Ahead of a rumoured forthcoming debut for PAN, Heith’s archival deep dive ‘Lo zoo di venere’ limns his mesmerising electro-acoustic flux of chamber classical and folk in post-rave dimensions for Haunter. Genius outsider electronics for fans of Shapednoise, Porter Ricks, Rashad Becker, Sote.
'Lo zoo di Venere' ("The Venus Zoo") takes its name from the Italian version of Peter Greenaway's covertly influential 1985 masterpiece "A Zed & Two Noughts". It's an appropriate reference too, the film is a sumptuous deconstruction of classical literature and art that hinges around concepts of death and decomposition - Guerrini's album feels similarly temporal, a set of music that's both steeped in European history and delightfully open-minded and open-ended. This is most evident on the delicate 'hashashin (for Asmir)', where Guerrini matches minimally processed lute sounds with operatic vocals, using precise DSP elements to point into another universe from a Medieval platform - in many ways, it's peak Greenaway: lusciously lit and finely decorated, packed with hidden messages and layered meaning.
Guerrini's ability to exist outside of the timeline is impressive from the outset, as he swiftly transitions from the plodding Lubomyr Melnyk dedication 'I've always found it somewhere else' to 'What You Take', a stuttering, brain-altering synapse-loosener that exists in the same sonic space as Porter Ricks' latter-day digi-dub subversions. Lengthy composition 'Genesis' might be the album's eye-of-the-duck, where all of Guerrini's influences can be clearly perceived; building over staccato FM synth glock chimes, the Italian producer spreads unsettling dissonant strings, gruesome distorted fuzz and orchestral instrumental elements that sound as if they're being radioed in from another era entirely. It's music that carefully stitches together pre-baroque religious music with 20th century minimalism and industrial noise tape muckiness, doing so with an air of decorative nuance that's unmistakably Italian.
Egyptian artist Kareem Lotfy steps up for an assist on the Ghost Lemurs Of Madagascar composition 'Gorilla Glue', elevating loosely strummed acoustic guitar flutters into elegiac synth clouds and jagged digital hotknives, while 'Mushrooms (palestrian)', recorded at Berghain's Säule basement in 2008, adds another facet to Guerrini's noise, tying a lilting illbient rhythm to whirring machine drones and THC-addled samples.
From beginning to end, 'Lo zoo di Venere' grabs us by the senses and rarely lets up, forcing us to consider duration, texture, tradition, modernity, light and color. Cinematic is an overused term, but Guerrini's sound is so visual and so sharply edited that it's hard not to see a parallel - this ain't a soundtrack to some imaginary movie, it's a celebration of possibility that stretches an arm out into the past to launch into the unknown.
Huge recommendation.
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