Boomkat Product Review:
Mind-altering stuff here from London-based Italian artist Nicola Tirabasso, who headed to a collapsed 16th century church to dub this bewildering set of deconstructed folk and electro-acoustic experimentation. Featuring City and Kenichi Iwasa.
Another unclassifiable burner from Milano's Haunter crew, "Privacy Angels" is Tirabasso's VISIO debut and pulls in elements from Medieval and Renaissance music, shrouding everything in digital FX and contemporary whizz-bang processes. Basically if you need comparisons, it's like James Ferraro crossed with Piotr Kurek or Wojciech Rusin. Tirabasso was inspired by the abstractions of Italian painter Osvaldo Licini, who was born not far from the broken down church where Tirabasso recorded the album. These rough brush strokes and vivid colors punctuate the album's mysterious atmosphere - it's tempting to call it Lynchian but that's not doing it anywhere near enough justice.
Tirabasso's sound is more embedded in the material reality of its Medieval history. The artist doesn't just reference the past here, he basks in its dwindling light, painting awkwardly electronic landscapes out of charming classical tones. Often the sounds don't fully match up with the general theme, and it's all completely purposeful: drunken metal guitar drones warble across pained vocals and discombobulated violins, drum machines patter over rattling chains and pot emptying foley sounds, dry classical guitar rings out over manipulated robot vocals.
Canadian outsider City (aka Will Ballantyne) pops up on 'Ur Eternal Drip', a track that in another light might sound like pop, with whispered, hoarse vocals, muggy atmospheres and bent drums. Im Tirabasso's hands it's more like an astral projection - an imagined idea of what pop might sound like from the confines of an Etruscan dungeon.