Scoolptures - White Sickness (Leo Records, 2011) ****½

I have been listening to this album for the last couple of weeks, and there's rarely been a day when I did not put the album on. And that's a very good sign. And the reason is quite simple : this is weird, mesmerising music, a great sequel to "Materiale Umano", their debut album.

The Italian quartet are Nicola Negrini on bass, metallophone and live electronics, Achille Succi on bass clarinet and alto sax, Philippe "Pipon" Garcia on drums and live electronics, and Antonio Della Marina on sinewaves and live electronics.

The band's music is minimalist in the sense that sounds and sound textures are the critical building blocks of their creations, but then again that is not entirely true because Succi plays long and often moaning phrases, and sometimes sounds are repeated by the live electronics.

Like the novel "Blindness" by Jose Saramago, to which the album's title refers, the universe created here is inhospitable, floating in nature, with several stylistic elements that take out familiarity or discard with known reference points that could provide comfort, while at the same time being human in a very basic emotional way, taking out all the stuff that does not matter. And it is the latter that draws me in, time and time again.The sad sax or bass clarinet, the incredibly powerful and warm bass tones, the precise percussion and the overall uncanny electronics create a superb listening experience.

It is so sensitive that it hurts.

Stef Gijssels :: Free Jazz [BE]

White Sickness is an extension of Scoolpture's 2009 outing for Leo Records, Materiale Umano. Again, the unorthodox lineup intimates the man and machine lineup via the quartet's heavy use of electronics. However, the program is designed with equilibrium, where the live electronics, drums, and sax elements attains equal footing with the effects playing a vital role. The musicians' judicious implementation of the electronic spectrum assists with eliciting vivid imagery and a polytonal basis for delving into semi-structured compositions and improvisation.

With eminent and well-traveled Italian woodwind specialist Achille Succi serving as the primary soloist, the music bespeaks a foreboding viewpoint amid a few acutely placed doomsday scenarios, but it's all in good fun, as the artists convey a genial modus operandi during these works, featuring streaming treatments and Succi's commanding presence.

The quartet paints a delicate metaphor that summons an impression of happenstance on "Undicidue," abetted by Succi's weaving bass clarinet lines atop Philippe "Pipon" Garcia's gently tumbling rhythms, while they depict a discombobulated planet during "Diecidue," which is built on slithery and tingling electronics and asymmetrical pulses along with intimations of lament.

They venture into minimalism and microtonal fundamentals, then elevate matters into a scorching exposition, topped off by reverberating backwashes of alien sounds on "Tredicidue." Other movements are engineered with shadowy motifs, gurgling undercurrents, and LP scratches on "Quindicitre."

Delightfully strange and insightfully concocted, Scoolptures reemphasizes some of the wonderful strangeness occurring in the European avant-garde and improvisational strata. It is an interesting concept, from a band that embraces solidarity and a resolute line of attack. The sum of the bouyantly moving parts transfer to disc in meritorious fashion.

Glenn Astarita :: All About Jazz [US]

Up next (Scoolptures | White Sickness | Leo 2011) is Free-form improv with electronics as a kind of composite ensemble in tandem with bass, reeds, and drums.

This is Free with long, sound-scaping breadth and some respectable improv from the conventional instruments. The electronics blend well with the acoustics and everything sounds as if it belongs together.

Succi is very out front, sounding almost like an improvisational concerto, electronics and other instruments being the “orchestra.” Arco bass is pretty out front as well, especially toward the end.

Subtle and long-winded but, like a rare wine, you must savor it to get the point. There is a point and rather excellent in its own way. No bopping, no slam-bang energy, just a long road to someplace or other and actually quite well done.

Recommended for those with patience.

Grego Applegate Edwards :: Cadence [US]

The runner-up album for 2011 is White Sickness by the Italian quartet Scoolptures, and this is quite a thought-provoking album. The basic musical material was developed over three years, based on research by bassist Nicola Negrini (b.1967), and worked out in an improvisational context by the quartet. This album was actually recorded in the same two-day April 2009 session as Scoolptures' first album, Materiale Umano.
Although the albums share the same sound world and important elements of musical vocabulary, White Sickness has the greater structural sophistication. It's difficult to imagine a sequel coming out of the same recording sessions that could be more compelling than the original release, but that's exactly the case here. Upon initially hearing White Sickness, prompted by the New Ears list, I found it rather fascinating, and so immediately ordered Materiale Umano. I subsequently held off listening again until I could hear Materiale Umano a number of times, and the two in sequence.
With its notable, electronics-based creativity in harmony & timbre, Materiale Umano retains a basically routine structure — call it sentence & paragraph — with repeated lines. The different tracks are named after body parts, with the word "slice" appended (although I do not know what body parts are referred to in all cases, and these are not necessarily literal physical parts), and tend to produce a rather direct & unified mood. My favorite track is the opening Brainslice (probably suggesting that I can be overly cerebral).

With White Sickness, that directness of structure is gone, and the sentences & paragraphs take on a variety of forms, with much less strict repetition. Is this directly motivated by the writings of José Saramago, credited in the liner notes and from whom the title is taken, known for his extremely long sentences & paragraphs? Probably not directly, but the greater variety of musical flow derived from the material makes White Sickness a more appealing album.

Regarding the musical material itself, the album begins with a solo by Negrini on bass & metallophones, integrated electronically into something sequentially resembling a single instrument. It's a striking sound. The main point of the research into this music would seem to be its use of electronics, namely in determining an interesting, yet human, way to use them. As I've remarked, electronics give one the option of making literally any sound, so they raise more questions than answers.
Here the Italian quartet attempts some answers, coming out of a study of music, psychology, philosophy, etc. What's an interesting & distinctive use of electronics in a group improvisation context that still comes off as human & musical? I don't know that this question was the focus of their inquiry, but it's what sounds through to me in the music, and if so, they have good answers.
Personally, where I've been finding electronics most directly compelling musically is in the opportunity for very clear & very high tones [*]. Other instruments have difficulty with clarity in those registers, and clarity gives one the option of keeping musical relationships and their overtone relationships clear, and then modifying them. Scoolptures does not use electronics entirely in this way, also using them to blend sounds as mentioned, and to manipulate other aspects of their interaction in real time (echoes, etc.).

The sound can be a bit shocking at first, just in its novelty, presumably hence the relative structural simplicity of Materiale Umano, but it does open up for the listener after more hearings. The activity is not especially dense (medium dense, I suppose), with Antonio Della Marina playing "sine waves" alongside Achille Succi on clarinet & saxophone. The latter often dominates the aural surface of the music, with the electronics coming to the fore more subtly, yet with a lot of power at times.
Philippe Garcia on drums pairs with Negrini to form a creative rhythm section that more than holds its own in what is in some ways an almost "traditional" free jazz quartet. (And note that Materiale Umano includes manipulated vocal material by Philippe Garcia, as well as Achille Succi playing shakuhachi — rather distinct from his usually screechy reed emphasis otherwise.)
This is an ambitious album (or set of two albums), successfully & enjoyably so.
The dedication to Saramago makes for a nice bow on the package.

Todd McComb :: JazzBlog [US]

Scoolptures is an Italian improvising quartet that mixes traditional instrumentation with a good deal of live signal processing. Bassist (and group founder) Nicola Negrini and drummer Philippe Garcia use live electronics while Antonio Della Marina plays sine waves and live electronics. Alto saxophonist and bass clarinetist Achille Succi, the central voice in the ensemble’s work, isn’t processing his signal, but others certainly are: at times he appears in multiple.

The moods of the music can be gauged by the title phrase. It’s taken from the late Portuguese novelist Jose Saramago’s Blindness, a dystopian fantasy in which all but one member of a nameless society become suddenly and unaccountably blind. Scoolptures matches the grim intensity of the novel with a kind of elemental minimalism, an eerie soundscape suddenly broken by unexpected blasts.

Succi’s lines are sometimes almost evanescent, at other times reduced to sustained, machine-like multiphonics. The group provides a theatrical backdrop to that central focus, whether it’s with drum punctuations or electronic squiggles, arriving at points like “Dodicidue”, where the assembling field of sound around Succi’s alto suggests both labyrinth and Minotaur.

Succi and Negrini possess striking timbres. Succi’s alto is capable of a painful lyricism and his warmly liquid bass clarinet can take sudden flight into buzzing overtones. Negrini makes a fine lead voice as well, whether it’s the reassuring fullness of his subtle pizzicato lines or the brilliance of his upper register bowing, marked by a cello-like vibrato.

When the music emphasizes the acoustic duo of Succi and Negrini, as on “Undicidue” and “Seidue”, the sense of responsive close listening and free jazz is strong. Making maximum use of its live electronics, though, as on “Tredicidue”, the group can turn Succi into a sax quartet that combines energy music blowout with the icy electronics of the band’s methodology.

It’s thoughtful work, simultaneously achieving psychodrama and a coolly abstract perspective.

Stuart Broomer :: NYC Jazz Record [US]

Mit White Sickness (LR 606) knüpft SCOOLPTURES direkt an Materiale Umano an. Obwohl angeregt durch die Lektüre von José Saramago, wählten Nicola Negrini (bass, metallophone, live electronics), Achille Succi (bass clarinet, slto sax), Philippe Garcia (drums, live electronics) und Antonio Della Marina (sinewaves, live electronics) einen Satz von Don DeLillo als Motto: Small dull smears of meditative panic. Auch der Titel erinnert an dessen White Noise.

Das italienische Quartett gehört zum Eigenwilligsten, was LEO zu bieten hat und ist so etwas wie mein Geheimtip.

Akustische und elektronische Improvisation teilen sich als ein Siamesischer Zwilling lebenswichtige Organe.

Um die Denk- und Vorgehensweise der Vier zu charakterisieren, brauche ich eigentlich nur einen Satz von Saramago musikalisch abzuwandeln: Ehe wir jedoch fortfahren, verlangt die Harmonie dieser Musik, dass wir ein paar Takte auf die Analyse eines vielleicht unbemerkt gebliebenen Widerspruchs verwenden.

So entsteht elektroakustisches Gleichgewicht aus kleinen Schmierern und analytischer Grübelei, eine selbstreflektive Langsamkeit, ein blinder Gesang, die metaphysische Panik in Poesie umwandeln. Bassklarinette, Altosax und der - oft gestrichene - Kontrabass brauchen, anders als die Symbolik Saramagos, keinen Traumdeuter, keinen, der sie erklärt. Es genügt, ihnen zu lauschen.

[google german>english translation]

With White Sickness (LR 606) SCOOLPTURES is directly linked to materials Umano. Although inspired by reading of José Saramago, chose Nicola Negrini (bass, Metallophone, live electronics), Achille Succi (bass clarinet, slto sax), Philippe Garcia (drums, live electronics) and Antonio Della Marina (sine waves, live electronics) a sentence of Don DeLillo as a motto: Small smears of dull panic meditative. The title is reminiscent of the White Noise.

The Italian quartet is part of the idiosyncratic, LEO has to offer and is such a thing as my tip.

Acoustic and electronic improvisation as a Siamese twin share vital organs.

To the thinking and approach to characterize the four, I actually need only one set of musical paraphrase Saramago: Before we proceed, however, requires the harmony of this music that we use a few notes on the analysis of a contradiction remained unnoticed perhaps.

This creates electro-acoustic balance of small smearing and analytic rumination, a selbstreflektive slowness, a blind singing, the metaphysical panic turn into poetry. Bass clarinet, alto sax and the - often painted - need double bass, unlike the symbolism Saramago, no interpreter of dreams, no one to explain. It suffices to listen to them.

Rigobert Dittmann :: Bad Alchemy [D]

Włoska scena improwizowana należy chyba do najbardziej zaniedbanych w naszym kraju, na pewno zaniedbana jest przeze mnie. Dziwne to trochę, bo przecież muzyka z Italii stanowi trzon rozwoju muzyki europejskiej nie tylko dawnej, ale także tej, z perspektywy zainteresowania improwizacją, istotniejszej, czyli XX wiecznej. Dziwne tym bardziej, że jako protoplastów europejskiego freeimprovu, oprócz brytyjskiego AMM jednym tchem wymienia się przecież włoskie Gruppo Di Improvvisazione Nuova Consonanza (nota bene projekt, w którym swe muzyczne podboje zaczynał znany nam ze zdecydowanie bardziej kompozycyjnego oblicza Ennio Morricone), czyli powinno się przecież zwracać na ten kraj szczególną uwagę.

Należy zatem pokłonić się przed Leo Feiginem z Leo Records, który z uporem maniaka wyszukuje muzyczne ciekawostki z krajów, które - nie wiedzieć czemu - przez innych są pomijane (szczególnie chodzi właśnie o Włochy i Rosję). Jednym z takich wynalazków jest projekt Scoolptures.

"White Sickness" to drugi album zespołu i podobnie jak debiut powstał z inspiracji literackiej: wcześniej czerpali z prozy Cormaca McCarthy' ego, tym razem z Jose Saramago.

Wszędobylskie live electronics, wyczytane prawie przy każdym nazwisku na okładce tej płyty, zadziałało na mnie pierwotnie dość zniechęcająco. Jak każdy fetyszysta akustycznego brzmienia boję się trochę elektroniki, Scoolptures bardzo przyjemnie mnie jednak zaskoczyło. Na pierwszym planie mamy bowiem dość klasyczne trio, a digitalne przetworzenia stanowią tu dodatek. Nie można go jednak umniejszać. Choć za sinusoidalne tła odpowiada tu tylko Antonio Della Marina, każdy z pozostałych muzyków również ma swoje zabawki i to dzięki nim pewne partie są nakładane na siebie lub modyfikowane w bardziej lub mniej czytelny sposób. Dzięki temu otrzymujemy momentami gęstą tkankę, którą nie sposób byłoby uzyskać rękami trzech czy nawet czterech osób. Najważniejsze na tej płycie są jednak wysublimowane dialogi między kontrabasem a klarnetem, względnie saksofonem. W grze Succi'ego jest dużo czytelnych wpływów i, w zależności od używanego instrumentu, słyszymy to echa Neda Rothenberga, to Ornette'a Colemana. Negrini gra bez pośpiechu, ale permanentnie szuka nowych dźwięków w przystającej do partnera skali. Utwory to w dużej mierze miniaturki, w ramach których ta dwójka, niczym Charlie Haden na swoich dwóch wspaniałych płytach nagranych w duetach ("Closeness Duets" / "The Golden Number") szuka ze sobą intymnego dialogu, a perkusista, choć z premedytacją ustawiający się w tle (momentami nawet względem pracy Della Mariny), błyszczy bardzo subtelną, acz niebywale trafną rytmiką. I tak po prawdzie w tym miejscu można by urwać, bo nawet bez całej reszty płyta warta byłaby uwagi, pomysłu z live electronics nie sposób jednak pominąć. Bo to naprawdę działa. Cały ten sztucznie wygenerowany świat dźwięków w jakiś niespotykany dla mnie sposób idealnie się przegryza: fale emitowane przez narzędzia Della Mariny zazębiają się ze dublowanymi i przetwarzanymi partiami instrumentu melodycznego oraz kontrabasu, i momentami tracimy rezon, co bardziej nas wciąga: czy ten znany i oswojony świat akustycznego, bardzo rzetelnego i emocjonalnego grania, czy też będąca, niczym odbicie w krzywym zwierciadle, jego odrealniona wersja.

Cieszę się niezmiernie, że "White Sickness" wpadła mi w ręce. Abstrahując bowiem od jej indywidualnych i niepodważalnych walorów, stanowi ona pomost do świata włoskiej sceny, na którą chyba najwyższy czas zwrócić uwagę. Wygląda na to, że tak jak Niemcy, Holendrzy czy Anglicy, tak i Włosi mogą serwować nam swój charakterystyczny sound i, jeśli mnie intuicja nie myli, będzie on obfitować w krocie wspaniałych inspiracji, o które we włoskiej tradycji muzycznej przecież nietrudno.

[google polish>english translation]

Italian improvised scene is probably the most neglected in our country, is certainly neglected by me. A little strange, because the music is at the heart of Italii development of European music, not only old but also that, from the perspective of interest in improvisation, noteworthy, that the twentieth century. All the more strange that as the progenitors of the European freeimprovu, in addition to the British AMM are mentioned in one breath, after the Italian Gruppo di Nuova Improvvisazione Consonanza (nota bene project in which he began his musical conquest known to us from far more compositional calculated Ennio Morricone), that is, after all, should be return to this country special attention.

It must therefore bow to Feiginem with Leo Leo Records, who obstinately finds musical maniac interest of countries that - do not know why - the others are ignored (particularly in terms just of Italy and Russia). One such project is Scoolptures inventions.

"White Sickness" is the second album and, like the debut was inspired by literature: earlier drew with prose of Cormac McCarthy 's, this time with Jose Saramago.

Ubiquitous live electronics, read out almost every name on the cover of this CD, it worked for me initially quite daunting. Like any acoustic sound fetishist afraid of a little electronics, Scoolptures very pleasantly surprised me, however. In the foreground we have a fairly classic trio, and here are the Digital processing additive. But it can not be underestimated. Although the sinusoidal background corresponds here only Antonio Della Marina, each of the other musicians also have their toys and it is thanks to some parties are imposed on themselves or modified in a more or less readable way. The result is a sometimes dense tissue, which would be impossible to get his hands three or even four people. Highlights on the album, however, are sublime and the dialogue between the bass clarinet, or saxophone. The game is much more readable Succi'ego influence and, depending on your instrument, we hear the echoes of Ned Rothenberg, the Ornette Coleman. Negrini game without haste, but constantly looking for new sounds can be viewed as a partner in the scale. Tracks are largely thumbnails, under which these two, like Charlie Haden on his two great discs recorded in duets ("Closeness Duets" / "The Golden Number") is looking for an intimate dialogue with each other, and the drummer, though a deliberately sets the in the background (sometimes even work against Della Marina), shines a very subtle, yet extremely accurate rhythm. And so, in truth, this is where you would pull out, because even without the rest of the album would be worth the attention, the idea of live electronics, however, can not be ignored. Because it really works. The whole world of artificially generated sounds in a unique way for me to be perfectly przegryza: waves emitted by the tool Della Marina overlap with backmarkers and processed in batches and the melodic bass instrument, and sometimes we lose self-assurance, which draws us more: is this known and familiar world sound, reliable and very emotional playing, or being, like a reflection in a distorting mirror, its unreal version.

I'm glad exceedingly, that the "White Sickness" fell into my hands. Aside because of its individual and compelling advantages, it is a bridge to the world of the Italian scene, which probably high time to pay attention. It seems that just as Germans, Dutch or English, so the Italians can serve us their distinctive sound, and if my intuition is right, it will abound in a plethora of great inspiration, which in the Italian musical tradition, yet it is not difficult.

Marcin Kiciński :: Impropozycja [PL]

White Sickness' is na ‘Materiale Umano' de tweede cd van het Italiaanse kwartet Scoolptures, en vormt een soort tweeluik met die eerste plaat. Naast akoestische instrumenten bespelen bassist Negrini en drummer Garcia ook live-elektronica.

Bovendien levert de vierde man, Della Marina, commentaar op de gang van zaken met zijn eigen batterij aan analoge elektronische apparatuur (zoals sinusgolf-generatoren). De balans tussen akoestisch en elektronisch maakt de muziek van de groep bijzonder aantrekkelijk, want die slaat nooit naar één kant door.

De lenige, warme bas, het ritselende, kleurende slagwerk en de heldere altsaxofoon zijn daarbij sterke wapens. Een hoogtepunt is ‘Diecidue' dat doet denken aan de vrije ballads van Ornette Coleman. De spookachtig mooie uithalen van Achille Succi zorgen voor kippenvel.

Dat hij ook prachtig basklarinet kan spelen is bijvoorbeeld te horen in het mysterieuze ‘Quindicitre'. Samen met de gestreken bas ontstaat een duistere sfeer, die door een onbestemd elektronisch gekraak (het lijken wel tikken in de plaat) doorboord wordt. Naarmate de veertien minuten van het stuk vorderen, wordt het geheel steeds ongrijpbaarder en fascinerender.

[google dutch>english translation]

"White Sickness" after "materials Umano" the second album by the Italian quartet Scoolptures, and forms a diptych with that first album. Besides acoustic instruments, playing bass and drummer Negrini Garcia live electronics.

Moreover, the fourth man, Della Marina, commenting on the state of affairs with its own battery of analog electronic devices (such as sine wave generators). The balance between acoustic and electronic music makes the group particularly attractive, because they never turn to one side through.

The lithe, warm bass, the rustling, crisp percussion and alto saxophone coloring are strong weapons. A highlight is "Diecidue" reminiscent of the ballads freedom of Ornette Coleman. Removing the beautiful ghostly Achille Succi provide goosebumps.

Wonderful that he can play bass clarinet, for example, hear the mysterious "Quindicitre. Together with the bowed bass creates a dark atmosphere, by a vague crackling electronic (they look like tapping into the plate) is punctured. As the fourteen minutes of the piece forward, the whole is more elusive and fascinating.

Herman te Loo :: Jazz Flits [NL]

[djupdyka] Den italienska kvartetten Scoolptures har nu släppt sin andra skiva. Jag var mycket imponerad av deras debut Materiale Umano som kom ut på samma bolag för tre år sedan.
Lugnt kan jag konstatera att de knappast har tappat gnistan. Det är lika mättat, lika sparsmakat och verkligen originellt på bästa möjliga sätt.

Även om de låter helt annorlunda kan jag inte släppa associationen till svenska The Schematics, som har en helt egen ingång till improvisationen och jazzen utan att det riktigt går att sätta fingret på just vilka egenskaper dessa är.
Men det lutar åt en mycket lyckad integration av elektroniken, som aldrig dominerar men ändå är en form av ”osynlig hand” över musiken.

White Sickness ger ett mörkare intryck än debutens litet mer illmariga idéer. Kanske är det titeln som styr tolkningen, men kombinationen av Achille Succis basklarinett och Nicola Negrinis stråkspelade bas driver onekligen ned temperamentet mot djupet. Låter det bara så här har jag alls inget emot att vistas där nere med dem.
Jag har ingen aning om hur mottagandet av förra skivan blev, men det här handlar om genuin kvalitét och det vore högst egendomligt om det inte finns en publik för Scoolptures.

[google swedish>english translation]

[deep dive] The Italian quartet Scoolptures has now released a second album. I was very impressed with their debut materiale Umano that came out of the same company three years ago.
Quietly, I notice that they hardly have lost the spark. It is just saturated, just as meticulously and really original, the best way possible.

Although they sound quite different, I can not let go of the association for Swedish The Schematics, which has a completely separate entrance to the improvisation and jazz without really going to put my finger on just what properties these are.
But it is leaning toward a very successful integration of the electronics, which never dominates but is a form of "invisible hand" over the music.

White Sickness gives a darker appearance than debutens little more arch ideas. Perhaps it is entitled to the interpretation, but the combination of Achille Succis bass clarinet and Nicola Negrinis strings played bass runs undeniably down temperament at depth. Sounds just like this, I really do not mind staying down there with them.
I have no idea how the receipt of the last album was, but this is about genuine quality and it would be very strange if there is an audience for Scoolptures.

Johan Redin :: SoundOfMusic [SE]

Docela pravdivý náhled na to, co přinášejí nahrávky projektu Scoolptures, poskytují už obaly alb. Namísto, aby nám italští muzikanti Nicola Negrini, Achille Sucii, Philippe Garcia a Antonio Della Marina dovolili to pohodlí normálně si přečíst, na co hrají a jak se album jmenuje, text na přebalu zohýbají, zezrcadlí, roztáhnou, smrští, zkrátka zmanipulují. A to je i přístup, který používají v samotné hudbě. Hru na kontrabas, metalofon, basklarinet, altsaxofon a bicí manipulují živou elektronikou. Cítíme jejich schopnost hrát poslechovou rytmickou a melodickou muziku a chtělo by se nám ji od nich poslouchat. Ale Scoolptures jen nabídnou prst a s celou rukou vzápětí ucuknou. Bylo to tak už na předchozím albu Materiale Umano a je tomu tak i na aktuálním White Sickness.

Přístup živé elektroniky je ovšem takový, že posluchače nepřipraví o původní hru nástrojů, ty slyšíme nezměněné. Počítače a mašinky ji jen zachycují a přeměněným materiálem hru doprovázejí. A to okamžitě, třeba tak, že se za čistým saxofonem zrcadlí elektronické jiskření jeho samého anebo že se decentní údery do metalofonu prolnou s vlastním otiskem v elektronice.

Při srovnání White Sickness s předchozím albem si snadno všimneme, že si jsou zvukově velmi podobná. Slyšíme zvuky stejných nástrojů a kapela s nimi ani s další elektronikou na první poslech nezachází výrazně jinak. Nahrála tentokrát album, které je při zachování vší podivnosti a avantgardy možná o stupeň poslechovější než předchozí Materiale Umano a zároveň je o poznání tišší, meditativnější.

Při ,,skulpturovém" volném improvizování vzniká někdy zajímavý efekt. Muzikanti občas nabídnou pevný rytmus anebo párkrát zopakují melodii saxofonu. V kontextu desky se pak taková skladba promění v chytlavý hit. Ale jako by Scoolpures řekli, ne tudy my opravdu nejdeme, od struktury hned zase ustoupí.

Název White Sickness se má vztahovat ke knize portugalského spisovatele José Saramagoa Slepota. Vypráví o bílé slepotě, která přinese dezorientaci a chaos. Zčásti můžeme odhadnout proč, ale kdo přístup Scoolptures k hudbě už přijal,  nebude jejich nahraný materiál vnímat jako negativistickou zprávu. Sickness mi k albu, jež uchu dělá spíš dobře než zle, nesedí, i když se při poslechu vesměs teskných skladeb moc nenasmějeme. A zaznamenal jsem pozitivní reakci i od posluchače, který s poslechem abstraktní hudby zkušenost nemá. Abych to ještě vystupňoval: White Sickness se dá poslouchat i v autě. Zatím jsem nehodu nezpůsobil. Možná i proto, že při poslechu této desky není důvod pospíchat.

[google czech >english translation]

Quite true insight into what brings Scoolptures recording project, provide longer album covers. Instead of us Italian musicians Nicola Negrini, Achille skilled, Philippe Garcia and Antonio Della Marina comfort normally allowed to read what and how to play the album name, the text on the cover zohýbají, zezrcadlí, expand, shrink, simply manipulate. And that is the approach used in the music itself. Playing bass, metalofon, bass clarinet, alto saxophone and drums manipulate live electronics. We feel their listening ability to play rhythmic and melodic music and would like us to listen to it from them. But Scoolptures only offer finger and then with a hand ucuknou. It was already on the previous album and Material Uman is true of the current White Sickness.

Access live electronics is such that the listener does not prepare an original play instruments, you hear the same. Computers and locomotives it only accounted for and přeměněným material accompanying the game. And immediately, should such a way that reflects the pure electronic saxophone spark of himself or the subtle strokes to blend with metalofonu own imprint in electronics.

When compared with the previous White Sickness album can easily notice that the sound is very similar. We hear the same sounds and instruments of the band with them or with other electronics on the first listen does not go much differently. This time she recorded an album that is all the while maintaining the avant-garde weirdness and perhaps a degree than previous documents poslechovější Uman and is a lot quieter, meditativnější.

When,, skulpturovém "free improvisation sometimes creates an interesting effect. Musicians sometimes offer a fixed rhythm or melody saxophone repeated several times. In the context of such plates are then transformed into a catchy song a hit. But as Scoolpures would say no way we really can not, from the structure now retreats again.

The name White Sickness is to apply to the book of Portuguese writer Jose Saramagoa Blindness. It tells of white blindness that will bring confusion and chaos. In part, we can guess why, but who Scoolptures approach to music has received, their recorded material will not be perceived as negative to report. Sickness me to the album, which makes the ear more good than bad, does not fit, even as you listen to mostly teskných nenasmějeme songs too. And I saw as a positive reaction from listeners who listen to the music experience does not have an abstract.
To put it even escalated White Sickness can listen in the car. So far I have not caused an accident. Maybe because when listening to this album is no reason to hurry.

Martin Filip :: His Voice [CZ]

Un deuxième album chez Leo pour ce quatuor italien d’improvisation libre. Beaucoup de place aux électroniques dans ce groupe qui propose une improvisation tellement non idiomatique qu’elle se détache de l’impro...non idiomatique.

A second album on Leo for this Italian free improvisation quartet. Lots of rooms for electronics. This group pushes a form of free improvisation so non idiomatic it steps away from…non idiomatic free improvisation.

François Couture :: Monsieur Délire [QC : CAN]

Il bassista Nicola Negrini e il suo quartetto ci propongono una serie di improvvisazioni che richiamano nella fattura il precedente "Materiale Umano", uscito sempre su Leo Records.

Parte delle responsabilità ricadono anche sulle spalle di Achille Succi che si dimostra clarinettista e altista adattabile con creatività a situazioni artistiche tra loro anche nettamente separate.

Il batterista Philippe Garcia e il live electronista Antonio Della Marina sono gli altri punti-luce di un disco solo in apparenza casuale [voto:7]

[google italian >english translation]

Bassist Nicola Negrini and his quartet offer us a series of improvisations that recall in the previous bill "Materiale Umano ", also published on Leo Records.

Part of the responsibility also falls on the shoulders of Achille Succi which proves altista clarinetist and adaptable with creativity to situations artistic among them quite separate.

The drummer Philippe Garcia and Antonio Della Marina Electronista live are the other light-points of an only apparently casual disc [Rating:7]

Piercarlo Poggio :: Blow Up [I]