SIL MUIR

— First review of this album —

"Play to BN Chora. Jugement" is the soundtrack written by several italian artists to support the video installation / exhibition released by Massimo Indellicati and Progetto Sperimentale Chora for the Alexander Gallery Cafe (August 2008). The concept of this inter- media performance was based on several ideas delivered by the french writer and global artist Antonin Artaud in the ultimate "pour en finir avec le jugement de dieu". The soundtrack features two pieces (the opening / the end) made for voices, concrete sounds, field recordings and whose allegory is to describe the interior flux and the particular conditions of the self in the world of attractions, stimulations directed by the contacts with the exteriority. Beyond words it attracts us to the fundamental silence and to his psychic- negative-suffering facet: the autism. Track number three is an introspective-micro tonal based electronic piece punctuated by detached guitar / piano expressive lines. It is reminiscence of sensual minimal ambient collages of Alva Noto & Sakamoto, Christian Fennesz and Loren Connors. The third track is performed by the duo Sil Muir (Andrea Ferraris and Andrea Marutti). It features tremendous dronescapes which grow up into an unique and organic flow of metamorphosises. This soundtrack is a sonorous- sensorial experience which communicates the "musical sentiment of the existence".

Sil Muir is a contemporary minimalism droning project involving Andrea Ferraris and Andrea Marutti. The subterranean, circular abstracted dronescapes are covered by fragile-ephemeral and melancholic echoing guitar sounds. The first piece is an ecstatic journey of sounds based on Marutti's slow moving drone rituals and covered by introspective, delicate guitar echoing notes from Andrea Ferraris. The Spring That Never Comes is an outer space, meditative piece growing into real isolation and bleak atmospheres. Light at is another spacious, intimate and sacred drone-like electronic theme. It starts with a glacial, arctic soundscape in the distance that becomes magnified by a cascade of serene, warm guitar chords. Completely beautiful and plastically vibrant. An holy nocturnal ceremony. It sometimes reminds me Peter Wright's droning "abyssal" guitars but less massive and less heavy with much more emphasis on intimate and mytho-poetical themes. We Don't Need Time, We're Already in Eternity is a twenty minute subliminal droning electronic sphere that slowly and delicately emerging from a blackened abstract world. I'm impatient to discover more sound materials from this fantastic new duo. A pinnacle of "dronemusik".