It’s a curiosity, this one. I don’t know if you’ve seen Paolo Angeli‘s prepared guitar (have a look on YouTube), but it’s legions more cumbersome than the old crocodile clips and ebows that pass for prepared guitar in some circles. Part of me thinks of tacky one-man-bands when I look at it but, luckily for Angeli, the absurd look of his creation is quickly mollified by the dexterous and intelligent use he puts it to. In fact, calling it a ‘prepared guitar’ is a bit of a misnomer. It’s more of a box of sounds that happens to be built around a guitar. He’s got all sorts of fans, hammers, resonant strings, percussive whatsits in his set-up. Fukushima, by contrast, sticks to playing ‘just’ the violin and singing here – that seems an odd way to phrase things, given how lovely her tone is, how clean her mordants and artifical harmonics are.
Anyway – this record is definitely marked by two musicians who know their instruments inside-out. It’s seemingly highly-structured stuff – the songs seem built around a logic of sitting ideas and genres next to each other without too much care for obvious continuity. But it’s not the genre-hopping terror of a lot of this sort of thing – the songs work with a narrative of their own, and motifs pop their heads in and out of the door just to keep the audience together.A lot of it sits closer to the Radio 3‘s Late Junction side of experimental music – so while there are bits where Angeli’s plugging a Keith Rowe-esque idea, it’s always within a tightly-controlled narrative of what the song needs, rather than exploring the textures and ideas of his guitar preparations as sounds-in-themselves. Which is great really. Both players here have built a stock of sonic ideas from a range of places – difficult artificial harmonics and ricochet playing from Fukishima, baroque bass viol styling and flamenco percussion from Angeli. There’s times where it feels like both have listened to a lot of The Wire side of experimental stuff but decided to marry that to their (obviously well-considered) affection for traditions from across Europe. For my notes on track 3 (“Vetro Soffiato”) I’ve written ‘Toshio Hosokawa baroques out,’ and the same song uses what might be a loose bridge buzzing to create a sonic effect similar to that of a hurdy-gurdy.
I suppose it’s the consolidation of different styles and techniques, marshalled into a more genteel, polite form than is often found in experimental music, is what makes this a good record for me. Extended techniques can easily fall into being the sole focus of a duo – and thus alienating a more general audience – but Fukushima and Angeli do a good job of being inviting to a range of audiences. I can’t see any reason why the sort of people who go to Froberger recitals couldn’t find something to love here. It’s definitely a record dense with well-realised ideas, but they never let the unusual set-up of Angeli’s guitar, or the extensive ideas they have at their disposal, get ahead of them. And, perhaps most importantly, it might be a nice wake-up call for anyone thinking that a prepared guitar can only make a horrendous racket. Skill.-Kev Nickells-