…sibilava tra i denti…–“hissed between the teeth”—is the work of two generations of Venetian experimentalists. Multi-instrumentalist Mauro Sambo, here on electronics, double bass, kalimba, gong and other percussion, is joined by his daughter Matilde, who provides field recordings and plays electric guitar and electronics. Both bring sensibilities formed at the crossings of sound and various other media—videography for Matilde, and the plastic arts for Mauro. As might be expected, their collaboration shows a sensitivity to the ways sound can imply and simulate action projected into a three-dimensional space—implication being the soul of their musical wit.
The single, nearly twenty-nine minute track is permeated by an atmosphere of acousmatic mysteriousness, as the sources of Sambos’ sounds seem reluctant to reveal themselves. Until they do, in the form of clearly-shaped guitar arpeggios, a struck gong reverberating in a void, or the skittering of a hyperactive kalimba. Throughout its changes of texture and timbre, the track gives rise to an almost cinematic sense of obscure but purposeful actions performed with the help of unknown means, and all of it taking place just at the threshold of comprehension.
A sound collage of understated drama and almost tangible atmosphere, Mauro Sambo’s Quel mutamento era il primo di una serie infinita (“what change was the first in an infinite series”) is a perfectly symmetrical suite made up of twenty parts of two minutes and twenty-three seconds each. Sambo deftly combines and recombines a set of recurring sounds—tolling bells, bits of operatic recordings heard from a distance, hammered metallic sounds reminiscent of a foundry or factory, the low buzz of a bass clarinet—in layers suggesting extension in physical space. The recapitulation of sounds within the suite gives it the feel of an uncannily familiar dream made up of repeating and evolving soft-edged images.
“…non così lontano dal cuore”—not so far from the heart—is a long, uncluttered and atmospheric improvisation from the trio of Mauro Sambo (electronics, electric guitar, piano, shakuhachi and double bass), Marco Colonna (alto clarinet) and Ivano Nardi (percussion). Over the course of the forty-one minute-long piece Colonna supplies lithe, serpentine melodies that frequently echo or counterpoint themselves thanks to Sambo’s looping and electronic manipulation. The interplay between the two musicians largely centers on the timbral contrasts and overlaps of distorted electric guitar and thunderously resonant piano chords on the one side and the now rounded, now overblown and raw-edged sounds of the clarinet on the other. A high point is a brief duet for the buzzing, sustained notes of the reed instrument and the shakuhachi’s skittishly voice-like melodies. Throughout, Nardi provides sympathetic and sensitive support on percussion.