Review: Italian composer turned analogue electronics wizard Caterina Barbieri has always been able to create mesmerizing, otherworldly music with only a small array of instruments. Born Again In The Voltage, her latest full-length excursion, was recorded between 2014 and 2015 using a Buchla 200 synthesizer, a cello and her own voice. Naturally, the results are astonishing. Check, for example, 12-minute album opener, "Human Developers", where discordant, mournful and post apocalyptic cello motifs are slowly enveloped by trademark Buchla synth sounds. In contrast, the beautiful "Rendering Intuitions" puts subtly shifting cello parts at the centre of a heady ambient soup, while triumphant closer "We Access Only A Fraction" sounds like restless, metronomic proto-techno smothered in trippy vocalizations.
Review: Important Records recently described this release as featuring "two sound poems". There's certainly something poetic about the fluid ebb and flow on both pieces, both of which were crafted with the use of analogue and modular synthesizers and tend towards the epic. On the A-side you'll find a new piece by Italian sound designer and composer Caterina Barbieri. "Bestie Infinite" somehow manages to be both mournful and strangely positive, with fluctuating modal melodies slowly emerging from the backbreaking weight of Barbieri's droning chords. Minimal analogue synthesis specialist ELEH handles side B, casting a spell via held church organ chords, off-key melodies and cascading electronics on stunning, 16-minute opus "Wear Patterns".