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  • Here’s a cd from the Line label, presented to its usual, very recognisable, standards and design. The front cover is a hazy wash of turquoise, which, after careful inspection, reveals itself not to be the flat, uniform spread of colour it first appeared. It would be cute to grab that as a metaphor for the album, but actually ‘Days’ – perhaps unusually for Line – is rather open and ‘uncomplicated’; there’s no sense of the (verging on academic) allusion to ideas, that many other Line releases have.

    So, we have, very simply, a trio making drifting, sensuous drones. I really could leave it there. The album contains seven tracks, named ‘Day One’, ‘Day Two’, ‘Day Three’, and so on; ranging from the four minute mark, to a more expansive twelve. The pieces are all very organic, very flowing – I’d guess that they were improvisations from the trio. Although there are moments and passages that threaten some darkness (in fairness, ‘Day Six’ is overwhelmingly moody and funereal), the tracks are unashamedly warm and melodic – the term ‘ambient’ would sit here very happily. Despite this, the pieces are often busy and detailed – complicated in their simplicity; with layers emerging and circling throughout. It’s a release that wouldn’t look out of place in the Kranky discography – a more introspective Stars Of The Lid, a Labradford with any cold or roughness removed…

    If there is any cleverness in ‘Days’, its rather obvious and upfront: the trio’s instrumentation. TRIAC are Rossano Polidoro on laptop, Marco Seracini on piano and synth, and Augusto Tatone on electric bass – the cleverness being the fact that nothing on the album sounds remotely like a piano or bass. This is weak cleverness at best, but I’m making no criticism here of the group at all: ‘Days’ doesn’t trade on this processing or make any fuss of it. In fact, its most likely barely noticeable, to the average, modern listener; versed, as we all are, in the magic of effects and loop pedals. The cleverness is no longer perceived as ‘clever’: its just three musicians making sound together.

    To conclude, this is a very solid, very assured album; as you’d expect from Line. The tangent is, perhaps, that its also unashamedly devoid of ‘baggage’ – which stands it apart from other releases I’ve seen from the label. When I say ‘baggage’, I am referring to the more cerebral, austere investigations or themes that I’ve seen explored and explicitly cited on albums: ‘Days’ is simply, to repeat myself, three people making beautiful sound. You could be more crass and call it Line’s ‘rock record’. (Indeed, the breathy shimmers and waves could easily gather attention from the fringes of shoegaze.) This gives it a ‘no frills’ flavouring—though this linguistic hardness is at odds with the soft, sometimes fragile, nature of the sounds themselves. Very simply: an album of consummate, melodic driftworks.

  • On the back cover of Triac’s Days, the electronic music trio thanks Richard Chartier, LINE’s curator and showrunner, Italian artist Marco Marzouli, and acclaimed music producer William Basinski, but of the three it’s the latter with whom, musically speaking, Days has most in common. That being said, the album’s material could also be mistaken for a Celer or Stephan Mathieu production, especially when the album features glassy drones and tremulous wisps of processed sound shimmering like light reflections and hanging suspendedly in mid-air.

    Formed in 2011, Triac blends the talents and musical contributions of Marco Seracini (piano, synthesizer), Augusto Tatone (electric bass), and one-time TU M’ member Rossano Polidoro, who’s credited with laptop on the recording and leads the group project. Recorded in 2014 and fifty-one minutes in length, Days‘ seven tracks are sequentially titled—“Day One,” “Day Two,” etc.—to imply that each piece was created in a single day. The keyboards and bass sounds rarely if ever appear in unaltered form; instead, they assume a blurry character, presumably the result of Polidoro’s laptop treatments. The tracks vary in duration, with the shortest four minutes (“Day Seven”) and the longest twelve (“Day Three”). While that long setting is also arguably the recording’s standout for how it so subtly and artfully sequences its fragile elements into an alternately murmuring and whistling whole, “Day Five,” impresses too in the way a faint residue of melancholy seems to rise off of its softly shimmering surfaces. In such cases, the similarities between Triac’s peaceful meditations and Celer’s cloud-like formations are hard to miss.

    Days whispers at a near-subliminal level that likens it to ambient music in the textbook wallpaper-like sense; still, while there is a sense in which its material recedes into the background, there’s enough development and dynamic range within a given track to hold one’s attention and keep one engaged. There’s a strong degree of uniformity to the album, yet at the same time each of the seven settings presents a slightly different prismatic portrait of the trio’s music.

  • Triac’s Days consists of a week (seven “days” or tracks) of pastoral ambience that starts as peacefully as it ends. ‘Day 1” has all of the shimmer and glow of morning light, and that glow persists across much of Days. Rossano Polidoro, formerly of the minimal act TU M’, is the mastermind behind Triac, a trio that includes Marco Seracini on piano and synth and Augusto Tatone on bass. It’s clear that Polidoro is the key player here, because the sublime and subtle nature of these drones feels not only close in spirit to his work in TU M’, but it also largely obfuscates any of the acoustic traces of his other players’ instruments. This music is so weightless that it practically hovers in the air, like a dusty cloud that is reluctant to rest. “Day Two” has the faintest, buried reference points to its original audio, glimmers of insight into the instrumentation that’s enabled these fields of sound. Its overall timbre suggests something lighter, akin to slowly growing morning light that creeps across the floor as the sun rises.

    The obscured cover image is as accurate as any to contain these pieces. It shows the form of a tree but only through vague shape and suggestion, diffuse and blurred almost beyond recognition. “Day Three” reveals some undulating chords and arpeggios in an oblique way, still slightly more clearly formed than the preceding pieces, but with a gloomy shadow cast around and in between its brighter tones; this descent continues across “Day Four” which brings to mind the slipping away of daylight, as one might watch the light and shadow from a windowpane steadily creeping across the floor while the sun shifts in the sky. By the time “Day Six” comes around, things feel more muted, dusky, darker. This is not to say that the music is ominous, as one thing that’s reliable is that the tone of Triac’s album is mostly even albeit nuanced. “Day Seven” is as perfect a denouement as any, again just the slightest bit darker, more reserved, more restrained. Its patient hum and overtones make for a peaceful closing to Days, both reflective and quiet. Compared to some of the more angular or overly processed releases on Line, Triac presents with Dayssomething more fragile, obscured, and vague, like a residual feeling that lingers in the room. Recommended for fans of William Basinski, Richard Chartier, or TU M’.

  • The efficacy of Triac’s poetry, though, is largely down to prowess in populating a maximally immersive sound space with minimal elements—primary forms, shadows and light, in constant mutation. Recent work by ex-Tu M’ chum, Emiliano Romanelli, was described as ‘a kind of glassine dream mesmerism […], [Romanelli] holds back on sending in the ambient clouds in favor of a more thinly diffused vaporousness, sustaining a more lowercaseminimalism of means redolent of earlier Tu M’ work (cf. Monochromes Vol. 1).’ (333 Loops (Volume I)). And, though Triac’s identity comes through internal nuance, much the same applies here. These Days are recursive, not repetitious, pieces, its phantom chamber loops in microsound motion—here radiant, pure and clean, there foggy, grainy and rumbling. Nacreous soft synth clouds curl as various vapors diffuse multi-hued across the sound field. “Day One” dawns shimmering bright, serene and blithe, increasingly draped in a mist of intersecting strata. “Day Two” is bleaker, with glacial micro-melodies in remotion. The soundfield lightens for “Day Three” and “Day Four,” glistening with soft tintinnabulations, before turning to dusk on “Day Five,” a more enigmatic high-end keynote colored with deeper rumblings. “Day Six” is the hottest spot, low-end surge mixing with string-like drones of a murkier, more ominous, mien. On the closure of “Day Seven,” the rumble is differently turned—gliding melodies bespeaking sadness and solemnity more than omen and portent.

    Overall, Days shifts from light and floaty to more earthy and rumbling, its seven pieces ranging from pop-ambient lushness to wispy Basinski, the lingering residue of its sources’ timbres seemingly sieved from recorded air. It’s otiose to ponder whether Days is an allusion to periodicity, seven here contained constituting a week in unsung song form, or a pun invoking the heady effect intended by its suite of remote slow-mo tonefloat. Pure, unalloyed, temporo-spatially unmoored.

  • Richard Chartier’s Line label is at its best with Triac’s gorgeous 2nd album of diaphanous drones. ‘Days’ could be taken as a measure of time, or equally as a pun on the lush effect of their music, presenting a barely-there suite of near-baroque melodic gestures that seem to float in mid-air, as though either moving very slowly or as a midnight mirage conjured by some gauzy mind. Within its seven pieces, ranging from pop-ambient temporality thru ten minute trips, they seem to capture the resonant, lingering after-thoughts of their instruments – Rossano Polidoro (laptop), Marco Seracini (piano, synth), and Augusto Tatone (electric bass) – as though sieving the timbre from the air of their recording space and compressing it to CD where it’s used much in the same way a vapouriser would release pure THC. And, in much the same way as William Basinski’s most forlorn tones have steeped in their own harmonics, they infuse your listening space with a patient, supernatural subtlety to die for. Warmest recommendations.

  • Line is a label that has surely become notorious in the world of electronic music for peddling stripped-back but strange digital sounds on a varying spectrum of listenability. But sure, being listenable isn’t always the goal, and sacrifices have to be made, for the good of mankind. Well, maybe just music, but music IS mankind right? (jesus…)

    Days, the second release from Italian multimedial composers Triac. I hadn’t, but if you had heard of TU M’, it’s those two plus one. It seems there are only a few instruments here, with Rossano Polidoro taming a laptop, Marco Seracini rocking piano and synth and Augusto Tatone playing electric bass.

    That doesn’t say anything about this though; rather than an ’80’s chamber rock group, these three conjure some highly processed digital ambient – rich drone achieved by thin harmonics. Defining a whole day in song form is a difficult task, but their subtle interplay pulls it off – you hardly notice individual parts, just an enveloping whole. Each tone wall looms over you, becoming surprisingly lush at some points (‘Day Two’) overcast at others (‘Day Five’ and the rumbling ‘Day Six’) and sometimes just pure abstract. If these are to be the days of the week then yeah, maybe Thursday is the most abstract. All in all a very good ambient record from some computer music masters, and ample opportunity to treat yourself to an abstract Thursday. (8/10)
    (norman records, uk)

  • … Starting out with a ‘classic’ drone (almost like the drone of an Indian raga) the next, Days explores different drone variations, some lighter (Day Three), some darker (Day Six) – but without losing the reassuring calmness of pure timeless beauty.

  • The trio alternates a bit more often here between the light, floaty pieces and the more grounded, rumbling bassy ones.  Complex and intertwining layers define much of “Day One”, which opens with a shimmering Aurora Borealis like brightness and closes with pristine, beautifully pure tones.  On “Day Three” the band continues with what most likely are gentle synth bells and glistening drones.  Like many of the other pieces the trio manage to create pieces that are heavily focused on repetition, but never become repetitious.

    “Day Two”, on the other hand, has the trio working slightly bleaker.  Complex, yet heavy melodies factor heavily into the piece, but rather than being grounded it has a disconnected, isolated feel to it that feels more like drifting in outer space than amongst the clouds.  “Day Five” pairs the two styles together, with lighter higher register sounds blending with the deeper rumbling passages to result in a great stylistic mix.

    The final two pieces close Days on a predominantly moody note.  The low end surge of “Day Six”, mixed with the bowed-string like drones result in a piece that is murkier, with an ever so subtle hint of malignance to it.  It never reaches that cavernous reverb and clanking dungeon chains vibe of dark ambient, but hints of that are here.  Whereas that piece is somewhat menacing, “Day Seven” has the same rumbling to it, but with the gentle gliding melodies Triac infuse, it sounds more sad than sinister.

    With two albums released in the past year, it is unsurprising that much of the sound of In a Room and Days sound a bit overlapping.  But the strong consistency is balanced by a more daring, diverse sound on Days.  With a sound consistent with Tu M’s output but retaining its own distinct identity, Triac have already produced two exceptional albums of rich and diverse, yet meditative and reflective electronic music.

  • Dopo il convincente e squisito esordio offerto l’anno scorso al catalogo Laminal, i Triac pervengono alla prova della maturità con ingaggio firmato da Richard Chartier e dalla sua Line. Che l’ultimo progetto del veterano Rossano Polidoro assieme ad Agusto Tatone e Marco Seracini rappresenti l’espressione di punta del versante impressionista del made in Italy ambientale contemporaneo lo si era già potuto constatare dai primi passi mossi. Oggi “Days” altro non è se non la dimostrazione definitiva ed inequivocabile dello status di forma che l’act sta vivendo in questo suo primo periodo.

    A comporre l’album sono sette digressioni in un ambient-drone pura e incontaminata, che sfugge a qualsiasi determinazione spaziale o temporale, estranea in gran parte anche alle pulsioni dub che l’avevano tenuta a stretto contatto con l’esterno nel lavoro precedente. Qui ad essere ritratti sono luoghi dell’anima con il tempo “ridotto” a mero separé fra un’impressione e l’altra, e fra la natura umorale e costitutiva totalmente autonoma delle stesse. Una settimana raccontata attraverso flussi, armonie e sfumature interiori.

    I dieci minuti di “Day One” introducono così ad un universo disteso e sicuro, per quanto già cosparso di una nebbia fitta, rappresentato di nuovo in visione notturna nella splendida quanto sfuggente “Day Five”. Non c’è segno di vita alcuno, solo forme primarie in costante mutazione, ombre e luci che si spartiscono la scena: la poetica dei Triac sta in gran parte qui, nel costruire ambientazioni immersive sconfinate con il minor numero di elementi possibile, opponendosi al massimalismo e trascendendo la dimensione razionale.

    In “Day Three” e “Day Four” il soundscape si ripulisce ulteriormente, come in una sorta di bagno in una fonte purificatrice: è notte fonda, di nuovo, da un lato il fascino del buio e dall’altro la sua componente più inquieta, un drone elaborato progressivamente in tutte le sue forme possibili, fino a quella più definita della chiusura di “Day Seven”. Su “Day Two” la temperatura scende avvicinandosi alle lande glaciali di Galati (altra eccellenza italiana), mentre la ribollente “Day Six” rappresenta il punto più caldo, seppure simile nella tenuta umorale. Meraviglia.

  • On connaît bien Line pour ses explorations minimalistes aux frontières de l’audible et ses grands écarts s’appuyant sur les extrêmes du spectre sonore. Un ballet savamment programmé de sinusoïdes oscillantes qui se croisent et sont modulées, appliquant d’imperceptibles mouvements à des compositions qui paraîtront épurées, voire aseptisées aux brasseurs les plus réfractaires. On a pourtant déjà eu droit à des travaux moins opaques par le passé ; et si jusqu’à mi-avril, je devais remonter jusqu’à la dernière collaboration entre William Basinski et le tenancier du label Richard Chartier pour sortir un tant soit peu de l’abstraction des récentes sorties, voilà qu’émerge Days, second album en un an d’un projet italien formé fin 2011 par deux illustres inconnus, j’appelle Marco Seracini aux claviers et Augusto Tatone à la basse, et un habitué de Line et autres labels obscurs du genre, Rossano Polidoro au laptop.

    Essentiellement tournés vers la création d’installations audio-visuelles exposant la relation entre les espaces sonores et les environnements dans lesquels ils évoluent, les trois artistes derrière Triac ont attendu mai 2014 pour sortir leur première galette In A Room chez les russes de Laminal. Tout juste un an plus tard, Days présentera forcément des similarités à son prédécesseur, dues à un recul modéré sur celui-ci. Mais ne me faites pas dire ce que je n’ai pas dit : je n’y vois pas un aspect péjoratif, et les discrètes évolutions sonores suffisent à traiter les deux albums comme des entités bien à part, et non Days comme une version extended de In A Room.

    Présentant une tracklist volontairement épurée nous forçant à considérer le contenu plutôt que le contenant, la fenêtre temporelle dans laquelle les sept titres nous emmènent dépasse le cadre hebdomadaire qu’on leur identifiera par facilité. Les différents drones, où la patte ex-Tu M’ de Polidoro est omniprésente sans jamais trop s’affirmer, installent une ambiance épurée (linesque quoi) mais toujours teintée d’une brume qui floutera les contours des morceaux, embuera notre esprit et perturbera l’écoulement du temps. Et plutôt qu’une semaine, peut-être bien qu’à l’écoute de Days, notre inconscient aura voyagé une journée, ou bien un an.

    Il est en effet facile de se laisser transporter et déboussoler dans l’univers immatériel de ces sept pistes, où les instruments jamais reconnaissables superposent leurs harmoniques et conversent dans une dimension supérieure à la nôtre. Mais c’est pourtant bien à notre niveau que les effets se font ressentir, nous mettant en apesanteur dans un référentiel non-borné créé à partir de fragments de lumière ralentie, de couleurs diffuses et de courants d’air impondérables. Et bien que la substance de ces conversations musicales nous échappe, leur sens général filtre malgré tout au travers de l’écoute, et semble au départ presque intelligible dans Day One et Day Two, où les claviers et la basse traités se font passer pour des voix distantes se perdant dans des paysages embrumés. Ces bribes lumineuses et vivantes vont cependant s’effacer un peu plus à chaque morceau, leur abstraction grandissant tandis que les fréquences s’abaisseront. Et si l’écoulement du temps a beau être variable, il n’en reste pas moins unidirectionnel, et Days va du clair vers l’obscur, de la chaleur vers la fraîcheur, de l’éveil vers le sommeil.

    Notre conscience sera d’abord bercée par les sonorités vaporeuses et presque exotiques des deux premières pistes dans un environnement nuageux et diurne, avant d’être graduellement anesthésiée par la torpeur et l’obscurité croissantes qui culmineront dans Day Six et Day Seven, mais toujours dans la légèreté et la bienveillance. Sommes-nous passés en 50 minutes de la candeur d’un lundi matin au spleen dominical, ou bien n’était-ce qu’une journée, du lever de l’astre solaire à sa disparition derrière l’horizon ? Peut-être que les saisons viennent de se succéder, passant de l’optimisme printanier à l’isolement hivernal. Je crois que Days nous propose précisément de vivre les trois (ou plus) simultanément, en mettant en stase notre esprit pour ne sentir que les respirations lentes des boucles ambient et les mouvements aléatoires des instruments filtrés, oubliant toute notion physique inutile à l’expérience.

    Cette mise en scène envoûtante qui nous suspend dans des monochromes à la dynamique subtile mais réellement présente, saupoudrée juste ce qu’il faut d’organique, donne à Days ce caractère légèrement en marge des productions habituelles de Line, et lui accordent de ce fait une visibilité bienvenue autant qu’une alternative plus abordable aux réfractaires du microsound.

  • Líneas programáticas de sonidos enrevesados, plataformas extáticas de ruido quieto, formas auditivas que generan complejas estructuras dónde convergen imágenes y notas, gráficas  donde se cruza el arte contemporáneo con hebras acústicas. Siempre traspasando los límites del silencio de manera sutil, LINE es un espacio donde ocurren eventos ínfimos en los cuales se desarrolla la música moderna, transformaciones leves en las que se desplazan ondas horizontales y perturbaciones en la materia que producen un hermoso ruido. Dos de los últimos lanzamientos del label dirigido desde Los Ángeles por Richard Chartier se ubican en diferentes extremos del sonido, en diferentes puntos geográficos además, investigaciones sobre el sonido desde ópticas distintas que originan variaciones en el espacio.

    Láminas deslizadas ligeramente en extensiones decoloradas, paisajes en duotono por donde transitan pequeñas partículas de sonido. Planos continuos de energía eléctrica se despliegan en la atmósfera, trayectos subliminales de notas indefinidas. Desde Italia emergen una serie de registros comprimidos en los que se repiten de manera irregular armonías homogéneas, estructuras indescifrables avanzando encima de superficies lisas. Triac, nueva entidad en la que coinciden un grupo de músicos para producir diseños de sonido tenue. “Triac es un trío y nuevo proyecto liderado por Rossano Polidoro del ex dúo TU M’ cuya hermosa publicación en LINE de 2009, ahora ya agotada, ‘Monochromes Vol. 1’ (LINE_040) cosechó gran éxito. ‘Days’ es un álbum de suaves a la vez que deslumbrantes drones distantes que casi flotan en el aire. El sonido de la imagen en movimiento lento y las sutiles luces parpadeantes más allá de ello. Para los oyentes que aprecian las obras de Celer, William Basinski y Stephan Mathieu. TRIAC es un discreto trío de música electrónica formado a finales de 2011. Su trabajo también incluye instalaciones artísticas audiovisuales sobre las relaciones entre sonido y atmósferas espaciales y elementos naturales. Su primer álbum ‘In A Room’ fue lanzado en 2014 en la etiqueta rusa Mikroton”. Este nuevo trabajo de este relativamente nuevo organismo sonoro es tan solo su segunda publicación, luego de “In A Room” (Mikroton, 2014), música fabricada a través de la interacción de elementos reales y componentes artificiales, un entramado múltiple que es empleado para desarrollar piezas de sonido lineal. Triac elaboran piezas en las cuales las notas parecen permanecer en un mismo estado, no obstante existen mutaciones dentro del panorama audiovisual. “Days”son siete piezas compuestas e interpretadas por Triac, registradas el año 2014. Rossano Polidoro (laptop), Marco Seracini (piano, sintetizador) y Augusto Tatone (bajo eléctrico) edifican composiciones electrónicas reproducidas de manera física, filamentos acústicos y texturas metálicas que generan estridencias leves en el espacio. “Days 1”, placas minerales que producen una reverberación tenue, un sonido constante que se funde con un eco ambiental propagado como una densa bruma, diez minutos de capas en traslación subterránea que resplandecen con su reflejo gris. “Days 2” es otra forma de una misma unidad, armonías estancadas que transitan lentamente, superficies escarpadas que configuran panorámicas telúricas. “Days 3” es todavía más sutil, notas en la inmensidad y fracciones contaminadas infiltradas en la pureza tonal. Así con cada una de estas estaciones, hasta el último estertor que desaparece en medio del murmullo callado. “Distant drones that almost hover in the air. The sound of the slowest moving picture and subtle flickering lights beyond it”. “Days” es una música física, un sonido corpóreo compuesto de fragmentos intangibles. Rossano Polidoro, Marco Seracini y Augusto Tatone configuran sistemas indefinidos integrados de múltiples capas, ruido digital y fibras eléctricas en rigurosos paisajes de tonalidades débiles.