Francesco Sani, a musician living and working in Aberdeen, Scotland, brings a multifaceted, cosmopolitan perspective to experimental music. A violinist with a background in the standard repertoire of Western art music, he also plays folk music of the Celtic countries, Scandinavia and the Middle East. And he creates experimental music, as he does with the release Of Cosmic Bodies and Infinite.
The four pieces in the collection seem to have been inspired by the desire to create soundscapes that appear to have been cut as discrete segments from a longer, unending flow of music. Each track is constructed of long lines arising from Sani’s use of circular bowing; whether through multitracking or other electronic enhancement or simply through the cumulative emergence of natural harmonics over the course of the line, the tracks take on a rich, latently chordal texture. As befits finite images of the infinite, all of the tracks develop to lengths that facilitate the listener’s immersion—and what could be more immersive than the infinite?—in their wash of overtone. The often-invoked visual analogue of music like this, which is made up of floating tones, timbres and harmonies shading into one another, is the color field paintings of Mark Rothko, which Sani quite aptly in fact does allude to with the title of the final piece.