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Overdrive presents an instrumental combination that distorts that of the traditional clarinet, cello, piano trio. The musicians are confronted with a reckless network of counterpoints, that unsettle the listener, on instruments that, by their very nature, have a strong presence in the lower register, opening into sudden temporal lacerations, where everything enters in a state of suspended tension, bringing the consequences of this reflection over its limits. The title anticipates the sonic world in which the timbral research lives, referring to the fuzzy and growly tone, produced by a form of distortion in audio signal processing, associated to the electric guitar and mostly heard in Blues, Rock and Punk music.
The elements are articulated in three main groups : microtonal beatings, obtained by the interaction between the close diads of the bass clarinet and combinations of double natural harmonics on adjacent string of the double bass, with dynamic microtonal detuning; saturated and distorted sounds, obtained, for instance, by preparing the lower register of the piano and the clarinet with aluminium foil, or through a controlled virtuosity of the gestural-morphology of complex sounds; a set of vocabulary of harmonic, rhythmic and instrumental techniques which have an identity connected to the jazz tradition.
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