Roman Franz Rosati's ears are open, way open. Every sound is permitted in compositions that span the gamut from the next-to-nothing minimalism of a conceptual kinsman like Bernhard Gunter, to leave-no-frequency-unsounded massiveness of Merzbow. Rhythmic electronic/noise materials have traces of Ryoji Ikeda, but their density and placement are unique to Rosati, as he incorporates with them field recording fragments that create an electronic/acoustic dimensional tension that characterizes opener "01." Ruins gets much of its feeling of movement from injections of similar tensions between sound sources and their qualities.
"02" has a massiveness, an imposing wall of sound that cedes to intense beams of sizzling sounds with narrower frequency ranges. "05" begins meditatively, with a thrumming low-end pulse/drone that is intersected by scratches and scorching sounds like solar flares. Several species of noise become all-enveloping. Next. a rising section echoes the orchestral climb that ends the Beatles' "A Day in the Life," and the 10-minute piece ends with static-y Barnett Newman zips. Easy listening, Ruins isn't; it's a forceful ear cleaning.
(Nephogram Editions)"02" has a massiveness, an imposing wall of sound that cedes to intense beams of sizzling sounds with narrower frequency ranges. "05" begins meditatively, with a thrumming low-end pulse/drone that is intersected by scratches and scorching sounds like solar flares. Several species of noise become all-enveloping. Next. a rising section echoes the orchestral climb that ends the Beatles' "A Day in the Life," and the 10-minute piece ends with static-y Barnett Newman zips. Easy listening, Ruins isn't; it's a forceful ear cleaning.
