At the dawn of the new millennium, the partnership between Rossano Polidoro, Emiliano Romanelli and Andrea Gabriele took shape in the Tu M 'project, in homage to the painting of the same name by Marcel Duchamp, a title that can be translated with a “me suspended” me “without the verb. If in the framework the task of completing the meaning falls on the observer, in the music of you the same responsibility is burdened on the listener. After all, it is in this blind point that the ambient often moves: an incorporeal art, where restlessness and peace can coexist in the same whisper, at the discretion of what the user perceives.
Driven by the intention to establish a connection between ambient, glitch and drone-music, and reduced to duo after Gabriele's release in 2002, the Distilla project a concept outlined by slimming contours: an elsewhere never localized, a blur becoming. It is a path so defined in Sound Designbut also in the relationship with the visual: that of you, in fact, is also a video-installation project, as well as photographic and video, whose material (with a dry, square, hyper-hydudist aesthetic typical of the zero years) is traceable on their website.
The third volume of “Monochromes” comes two years after the second, but above all sixteen by the progenitor. Little was letting these posthumous legacies foreshadow: the duo had officially dissolved in 2012 and since then their emissions, a mental diary of secluded visions, had slowly dissolved in the underground lattice of the web, the same that had nourished them with blows of NetLabel And distro independent. For those who usually get lost in the rarer ambient, “Monochromes Vol. 1” remains an inner diary of the most evocative and penetrating the decade. Like a Celer who plays on the seabed of an ocean, the duo explored the cosmos between driedic caresses and twilight ripples, tracing one of the most ethereal and contemplative forms of the genre; a sort of stars of the lid transformed into Computer-Music minimalist, deprived of any material anchoring.
But let's go back to the compendium, to the principle of the triptych. “Monochromes” collects live recordings, created for an installation A/v held in Città Sant'Angelo, in the province of Pescara, in the summer of 2008. To speak is the breath of synthetic waves, like a Brian Eno dilatate between two worlds, in a quiet that disintegrates the ego to dissolve it in the eternal. Armed with two laptoptwo mixertwo speakers and a video projector, the installation excursus was articulated as a study on fragility, which through unidimensional audio-video audio-video dissolves, delimited the sensory boundaries on which a continuous hiss acts as a pin to loop Infinite.
“Vol. 3” continues the enchantment of its predecessors and expands it with further emotional dives, where the escape from daily frenzy is accomplished in a silent and regenerating refuge. It is an abysmal suspension, as well as the mystification of the less-is-love: for the time when the album accompanies, everything that tires seems to melt; There is no pain, and the ego is canceled. The theorem closet-droneHere, it finds parallelism with the Buddhist concept of drop in the ocean: a harmonious dilution of identity, where the individual dematerializes in a wider breath. At certain moments the memory of the best William Basinski, and you, without ever raising the voice, emerges, they touch equally profound peaks. If the first chapter opened a passage and the second consolidated it, this third intensifies its summit, sealing the hypnotic force of a triptych without center, gravitating only around your breath. It is a meditative art that slips into the sleeping, where sleep paralysis does not scare but consoles, and a trace of a cosmic belonging is made.
01/05/2025
Daniel D`Amico for SANREMO.FM
