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Though comfortable in pop, punk, extreme metal, art installation, and other "conventional" settings, Ambarchi seems happiest when turning his guitar towards more expansive and exploratory means. In the spirit of such renegade axe-men as AMM’s Keith Rowe, Christian Fennesz and Kevin Drumm, Ambarchi’s solo improvisations are concerned with making a guitar sound like anything-but-a-guitar. Considering its limited source, Insulation is nothing less than a parade of sonic impossibilities. Ambarchi’s performances transcend his instrument’s apparent range, offering watery gurgle, euphonically fabricated feedback, shimmering phantom notes, wildly zigzagging piezoelectric effects, expressive chirps, and harmonic ghosts. The intimated pulse-rhythms of "Concurrents," "Lungs" and "Murmurs" imply extensive computer trickery (and, indeed, Aussie e-music vet Matthew Thomas did lend a hand), as do the pseudo-breakbeat maneuvers of "Strategem." Remarkably, Ambarchi shuns computerized contrivance or editing artifice, aside from Thomas' subtle input, relying almost solely upon technical ingenuity. That makes his execution of such showstoppers as "Study No. 1" and "Study No. 3," dizzy musique concrète-styled displays of amusing electro-acoustic noises, all the more astonishing.
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Though comfortable in pop, punk, extreme metal, art installation, and other "conventional" settings, Ambarchi seems happiest when turning his guitar towards more expansive and exploratory means. In the spirit of such renegade axe-men as AMM’s Keith Rowe, Christian Fennesz and Kevin Drumm, Ambarchi’s solo improvisations are concerned with making a guitar sound like anything-but-a-guitar. Considering its limited source, Insulation is nothing less than a parade of sonic impossibilities. Ambarchi’s performances transcend his instrument’s apparent range, offering watery gurgle, euphonically fabricated feedback, shimmering phantom notes, wildly zigzagging piezoelectric effects, expressive chirps, and harmonic ghosts. The intimated pulse-rhythms of "Concurrents," "Lungs" and "Murmurs" imply extensive computer trickery (and, indeed, Aussie e-music vet Matthew Thomas did lend a hand), as do the pseudo-breakbeat maneuvers of "Strategem." Remarkably, Ambarchi shuns computerized contrivance or editing artifice, aside from Thomas' subtle input, relying almost solely upon technical ingenuity. That makes his execution of such showstoppers as "Study No. 1" and "Study No. 3," dizzy musique concrète-styled displays of amusing electro-acoustic noises, all the more astonishing.
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thank you so much. i actually yelped when i saw this
ReplyDeletepanagiotis
the guy is from australia, not new zealand
ReplyDeletekiller album though...
wow. I live in Sydney, love guitar impro, and never heard of this. Time to rectify...
ReplyDeletecould you please repost this?...
ReplyDeleteAny chance of a reup?
ReplyDelete