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CD Feature/ Andrea Marutti: "The Brutality of Misbreathing"

img  Tobias

How far can you go without saying a word? While drone music in its purest form is nothing but harmony and harmonics and can therefore be considered a total immersion into one of music’s constitutional factors, genres such as Noise, Dark Ambient and sound art in their most extreme shapes are characterised by the total absence of such factors at all. “The Brutality of Misbreathing” falls into the latter category – and yet manages to create the illusion of a musical safety net.

Described as “dramatic dark atmospheres” by the label, there is quite a lot more going on here than your average trip to the gates of hell and back again. Marutti is one of the game’s longest-standing players and an open mind sharpened by collaborations with plentiful colleagues. He knows that it is easy to create disgust, much harder to awaken fear and even more difficult to create true confusion, disorientation and the feeling of spiralling down an endless tunnel with no beginning nor end. “The Brutality of Misbreathing” takes the same stance towards music as David Lynch does to filming: It doesn’t matter if you understand it all, as long as you’re getting a breathtaking experience out of it: Colossal clusters melt in and out of each other, grey clouds of unknown origin pulsate at different rates and drift by in uneasy and confrontational postures, traces of sustained atonal voices struggle to press their lips against the glass, hands trying to break open the plastic. As the title already suggests, the album is about choking and a lack of air, but it doesn’t only open the eyes for corridors of panic, but to the majesty or greater principle behind the agony. Marutti errects giant reverbed spaces, which act like frames in which his hazy tectonics take place, only occasionaly decorated with far-away metallic rumblings and delayed and foreign field recordings. The organic way in which the music moves has a lot to do with its compositional background: Using live recordings from a concert in December of 2006, the tracks were enhanced in the studio at the beginning of this year.

Not that it has made these sound masses any easier to penetrate, but the fact alone that things seem to be “going somewhere”, instead of just marking time makes one’s heart beat more gently and allows the mind to enjoy rather than dread the trip. Even the pandemonic outburst of noise at the very end almost comes across as a relief. Go one step further, however, and words will fail you.

By Tobias Fischer

Homepage: Andrea Marutti
Homepage: Andrea Marutti at MySpace
Homepage: Opaco Records
Homepage: Opaco Records at MySpace

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