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by Fabio Orsi

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Tape one 08:16
Tape two 06:36
Tape three 14:54
Tape four 08:41
Tape five 06:55


attenuation circuit / Grubenwehr Freiburg ° ACGF 1001 ° 2022
attenuationcircuit.de ° grubenwehrfreiburg.bandcamp.com

recorded, edited and mastered in my studio, Litoranea salentina, March 2022


cover collage by Robert Kerber
“Für gewöhnlich versuchte er, einen winzigen Augenblick in der Zeit festzuhalten, aber manchmal fand er Vergnügen daran, kleine Geschichten zu erzählen”


released April 24, 2022

With this album, the labels attenuation circuit, run by EMERGE, and Grubenwehr Freiburg, run by Grodock, launch a new series of co-releases, marked by their catalogue code with the label 'initials' ACGF, but especially by their over-sized artwork in the format of a 7'' vinyl single sleeve. The aim is to give artists a broader exposure across the various networks of the two labels.

Fabio Orsi, who divides his time between Berlin and his native Southern Italy, makes ambient music in the best possible sense of the term. Not in the sense that it is music that just textures the air as some kind of acoustic wallpaper or furniture and doesn't actually deserve attentive listening. But rather music that attunes itself to the slow changes in atmospheres, light and weather conditions, the ambience in the sense of the (natural) world that surrounds and in many ways (still) defines us. “Late Afternoon Tapes” with its slowly meandering guitar-based textures will not only appeal to fans of guitarists like Robert Fripp or Christian Fennesz, but also – and the “Tapes” in the title may be a conscious hint at that – to anyone who enjoyed William Basinski's “Disintegration Loops”. When it's late afternoon, the light fades into an eventual darkness. This is music to go gentle into that good night, to paraphrase Dylan Thomas, or at least Fabio Orsi's music “makes time pass a little less painfully” (Anne Clark).

File under: ambient



Late Afternoon Tapes (ACGF 1001°) präsentiert sich als Auftakt einer Koproduktionsreihe mit Grodocks Grubenwehr Freiburg, daher das AC/GF, mit 7“-Artwork des Collagen­künstlers & Miniaturen-Texters Robert Kerber in Frankurt. Was ist das? Der Mond im Kopf, der Mars, explosionsumqualmt? Ein Ufo, surreal wie ein löchriger Wespennesttrichter, über der Turmuhr? Und dazu Musik von FABIO ORSI in Puglia, faunisch, oder melancholisch wie seine „Lazy Ballads for Homework“? Einst auf A Silent Place und Last Visible Dog, dann auf Backwards, Boring Machines, Oltrarno Raw oder Zoharum, zeigt er sich als Winterreisender, der in stumpfer Ohnmacht am Wannsee steht oder nachdenklich auf Uncharted Waters blickt. Seinen feierlich quellenden, sonor schweifenden Drones scheint nicht viel zum zarathustrischen Aufschwung zu fehlen, doch die Attraktion des Mondes ist zu groß, so dass er statt den Sonnenaufgang zu bejubeln, lieber der Dämme­rung in die Arme sinkt. Betört vom Bronzeton und der Rotglut des Untergangs. Prächtig geflammte, dröhnende Wellen und metallisch getönte Kaskaden ziehen zum Horizont, in berauschtem Taumel, seliger Drift, erfüllter Fülle. Der Synthisound evoziert eine Chimäre aus Orgel und Posaunen, die Bassspuren strömen und beben, fast nie als Puls, doch immer präsent. Music to watch Clouds by, Wolkenschiffe mit Segeln aus Rosen und Feuer.




Last week, I wrote about the Silentes label and Fabio Orsi, these are very active people. Here we have a CDR release. It marks the beginning of a collaboration between Attenuation Circuit and Grubenwehr Freiburg. As I commit these words to the screen, it is not yet late afternoon, but the idea behind the music is evident. Daylight fades, the day ends, and there is a soundtrack for that. 'Thursday Afternoon' from Brian Eno is such an appt title in this respect. Orsi's recent music is all about synthesizers, sequences and arpeggio. I am not sure if that is the case with this new release. Maybe he returned to his guitar and loops? Or perhaps it is a combination of both? I suspect the latter to be the case here. These five pieces sound not unlike Eno or Fripp, solo or together, and are something of a departure for Orsi; or a sidestep. The music is slow, with minimal changes. A few notes are hanging in the air thick of cloudy drones. The result is fuzzy and hazy music. I enjoyed this very much, but I guess Orsi can't do much wrong in my book. For me, this is not the soundtrack of the end of the day, but rather the start of the day, my favourite moment to play ambient music. In that sense, this is music for every day, all times of the day, depending on what the listener chooses.





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