Italian, Berlin-Based musician, Andrea Belfi presents his seventh studio album, Ore. It is his first release with the new London-based music, fashion, and events label, FLOAT. Which, turned out to be a VERY good move, granting him the freedom to gain and multi-layered perspective from musicians and non-musicians alike. To no surprise, as many experimentalists have also preceded with this notion, Belfi studied art in Milan before crossing over to music composition and performance. His particular background has led him to exhibit sound-art installations throughout the U.S and Europe. With plenty of solo work and collaborations under his belt, Ore noticeably stands out among the rest as he reintroduces one simple point: less is more (and usually moody.)
As a master percussionist with a knack for extricating the bare timbre of drums, with poignant electronics, Belfi has carved an entrance into a place where percussion exists as the center of attention. And possibly a place where one could get abducted by aliens. Sorry, but I couldn’t help but envision extraterrestrial creatures and insects surrounding his drum kit. In contrast to his previous record, Natura Morta (2014,) which acted as more of a starting point for repetition and variation, Ore is less disorienting and substantially more mature. With nothing more than a concise drum set up, a Nord modular synth, and the hands of a master, the result is a futuristic, alien, and totally non-exploitive percussive performance. I would recommend this for fans of Ben Frost, Nils Frahm, Tim Hecker, and similar artists.
Belfi describes the record as “something raw that you can extract…the refinement into a precious metal.” A title that unmistakably defines the true nature of such a work. “Anticline,” is a particularly perfect way to showcase how he lends rhythm, feeling, and internal pulse to everything that he sees, hears, and touches. About two minutes in, he attacks us with a swampy beat, accentuated with polyrhythmic glory, and unknown areas where everything is somewhere exactly where it’s supposed to be. “Iso” is filled with wonderment and cuts close to the bone with exquisitely warped solos.
By far, my favorite track, “Ton,” is all about texture. The disquieting high-hat feeds plenty of momentum, then stealthily unravels into dreamy, pillowy textures, encircled by wind and the sound of unexplored territory. “Syncline” follows, with simple drum patterns and scratchy electronics, slowly pulsating echoes, and plenty of sub-bass. I think that it’s safe to say that percussion can finally live and breathe at new heights. If you think that solo percussion only belongs in the orchestra, take a seat – this record is for you.