Genre: Avant-garde / Experimental Rock / Ambient / Psychedelic
01) La Bambina Intermittente
02) Ali di Mosca
04) Raccontamelo come Fosse una Favola
05) Il Sole Domani
06) Fiori Finti
08) Fragranze Silenzio
I’ve been sitting on this release since about half a year after the original incarnation of Heathen Harvest closed down, back when bringing it back to life in a new version was still only being discussed in passing. When I originally went to review this album, I wondered if it was even necessary to do so considering the artist has all but stopped existing and three of the four labels who released this album are now defunct. However, in the end my conscience as well as Alan Milne’s original review of Brusaschetto’s “Live at the Satyricon” on the original HH got the better of me, so to the lone survivor of five on this album, Sincope Records, this review is for you.
Daniele Brusaschetto has been operating as a solo musician and in various groups for some 16 odd years now, and has worked with labels everywhere from the four mentioned here to Ron Lessard’s RRRecords, Emil Maťko’s now seemingly defunct Black Orchid Productions, the sporadically operational Snowdonia, Afe Records, and Blossoming Noise. While it appears that this may be his last release, he’s had the honor of working with projects like OvO, Krankheit der Jugend, and Sandblasting (Luca Torasso) in addition to the projects he was an official part of. These included All Scars Orchestra (which is still active if the split tape with Icydawn is anything to go off of) — with Daniele Pagliero (Lo Dev Alm), Fabrizio Modonese Palumbo (Larsen, (r)), Marco Schiavo (Il Bue), Mirco Rizzi (Ashtool), Pier Paolo Bettinardi and “Smiao” — the psych rock project “Mudcake” with some other unknown members, and Ich Niente which was also with Mirco Rizzi. Needless to say, it would seem that, even though he’s played with a member of the well-known Larsen in All Scars Orchestra, his success has primarily been found through his music created via his own name.
Fragranze Silenzio, or the smell of silence, has a slightly psychedelic texture to it. If the album artwork, which was painted by an unknown artist in M.S. Lina and goes a long way to make one think of Tor Lundvall isn’t a good enough example of that, then the weirdness of the music itself and the English lyrics should be more than enough. What we have to listen to on “Fragranze Silenzio” ranges everywhere from short sustained piano/vocal psych mutterings of “Clouds” to the straight up stoner doom lengthy jam of the title (and final) track. Despite the down-tempo, minimal, tripped out nature of the release, portions can come off as both impressive ony a melodic and compositional level, and impressive in its ability to create electronic / post-industrial rhythms that can carry the music on an experimental level. “Raccontamelo come Fosse una Favola” even comes off as strangely Mediterranean on a folk level, which shouldn’t come as any surprise given the artist and the label’s geographic location, but in the context of the album, came completely out of left-field. Both of the opening tracks in “La Bambina Intermittente” and “Ali di Mosca” are ambient / art-rock works that utilize as minimal of an atmosphere as possible while still giving off a ‘rock’ vibe with light percussive clicks, a two-note lightly played clean bass loop, light cymbal-work and static/field recordings that are placed subtly in the fore-front of the production. “Il Sole Domani” is one of the more memorable tracks strictly for it’s dancey experimental IDM nature if nothing else, as is the title track for it’s unexpected heaviness and absurd length.
In all, I think the most impressive part about this album is that Brusaschetto has succeeded in creating something that is absolutely listenable on a normal basis. It’s still experimental for the sake of being experimental, but it has a lot to offer to the eclectic music fan who enjoys literally everything on the darker end of the spectrum from the expansive world of post-industrial and psych rock. While the album as a whole may not be everyone’s proverbial cup of tea because of its relaxed boundaries in regards to genre, you’d be hard-pressed to not find at least a track on the album you could get into. I do feel that there are some compositional issues where not simply adhering to the minimal rule of thumb actually could have helped tracks which is the reason for the score it’s getting, but it remains an interesting and impressive journey into avant realms.