1. Layers of faith
  2. Obliterated Alcove
  3. Peel away this mortal coil
  4. Cerulean facade
  5. De-altared
Deconsecrated and Pure is an evocative liturgy from the realm where electronic music meets acoustic drones, found objects, sacral voices and field recordings. Italian ambient-acoustic sonic sculptor Stefano Musso returns for his first solo Alio Die release on Projekt in 20 years. Don't get the idea he's been on vacation, however! Since 1992 he has released 37 collaboration CDs and 19 solo CDs; this makes Deconsecrated and Pure Alio Die's 20th solo release! Welcome back!
The processed traditional instruments and natural textures float alongside rich electro-organic drones, creating a perfect introspective soundtrack with a medieval and sacral atmosphere. Serene and meditative textures combine in a chorus of circular and interwoven sounds,reflecting the harmony of the cosmos as an opus of inner stillness.
Processed and layered into the mix are vocal pieces by Claudio Merulo. The work of this 16th century Venetian Renaissance composer was performed by Paolo Tognon and Quoniam Ensemble di Dulciane and De Labyrintho Ensemble Della Rinascenza, creating the essence of a historical religious feel.
The gradual evolution of the arrangements create a strong impression that the listener has been carried across time and space. Elements such as sonically-tampered Middle East horns (The dulciana, a sort of early basoon/oboe), solemn atmospheres of the courts of the Italian Renaissance, and evocative soundscapes cosmic and ethereal combine for holiness and trascendence.
To create this work, Stefano selected fragments of sessions recorded with the acoustic instruments, modifying them through multi-layered loops. Pitch and frequencies changed, effects were added, other sound objects were played and processed into the mix. This was further augmented with the electronics and field recordings adding more layers; metamorphosizing the whole atmosphere into a deep trance mood. What makes Alio Die's compositions glow is the attention to detail; there's always something changing; something from the background floats to the foreground as it is slowly modified, or perhaps it's the gentle addition of a bagpipe or stringed instruments. It all intertwines through constant modulation,addition of atmospheric sounds, and re-contextualization.
Marvelously floating and hauntingly expressive, 'Deconsecrated and Pure' feels like a liturgical poem within an archaic mausoleum distorted by time.

2012. Press Information An anchorite craftsman of a monastic and dreamlike musical world, Alio Die (Stefano Musso) unfolds its abstracted musical paintings on dark and ecclesiastical works since the beginning of the 90ís. This Italian musician, who is much more a sculptor of musical forms than a keyboardist/synthesist fond of long and complex sequenced structures, has built himself an enviable reputation in the circle of dark ambient EM, as prove it his about forty albums realized in collaborations with various artists in search of musical paintings to nature ecclesiastical meditative. If the musical signature of Alio Die is stamped of a dark approach, itís doesnít perspire on Deconsecrated and Pure. His 20th solo album, and his very first on the American label Projekt, is a mix of coldness and poetry in a stifling ambiance tetanized by layers with tones molded in a mixture of metal and angels' sighs which glide in oblivion.

Very poetic and musical breaths, sounding as plaintive oboes, open "Layers of Faith". Serene and meditative, the mood is divested of rhythms and leans on subtle modulations which walk "Layers of Faith" in some mesmerizing ecclesiastical corridors. Itís a long contemplative canvas where layers of synth, or other instruments sculptors of sounds, crisscross and float among fine ringing, immersing the listener in a strange monasterial tranquility. More bright than somber, "Layers of Faith" is intubated by fine nets of flutes which chant seraphic tunes on a long musical sculpture where discreet choruses roam beyond strange rustles which rob the serenity of a secret bass lineís oscillations. I quite liked it, especially since the pattern plunges me into Michael Stearns's ambient works. "Cerulean Facade" embraces the same meditative outline with iridescent layers and rippling waves which propel the delicate ringing of prismatic carillons. More immured with its angelic choruses which hu m a sanctified litany, "Obliterated Alcove" plunges us into a somber monastic atmosphere. The first half is quite occult, black to the limit, with celestine layers which spatter the calmness of the devout choir while the second part is sharply more celestial with sanctified singings which flow as voices without purposes on the waves of a prismatic brook. "Peel Away This Mortal Coil" and "De-Altared" are two titles molded in the same alloy of metal in decomposition. Everything is of a fetid scent of metal which crumbles in an oblong unchanging din. The layers are nasal and scratch a structure soaked with a thick cloud of tones as metallic as ill-assorted. If we hear fluty breaths to moan, we also hear silvered blades complain such as some bagpipes on decline among carillons, tinkling, rustles and lapping of water which become entangled in astral hollows where moan the modulations of bass hidden in twilights abstruse. On the other hand the finale of "De-Altared" is more musical, brush ing the leaded sweetnesses of the introductory track.

More than a musical adventure without borders nor musical beacons, Deconsecrated and Pure is to contemplative EM what Baudelaire is to loving poetry. It is a dark work. Not because of its musicality, but rather because of its contents which is extremely lumbering and atonal. If certain nuances illuminate our loudspeakers and dandle our ears of a certain iconoclastic magnetism, the fusion of tones, which sometimes embrace breaths of a silvered coldness, is scratching any attempt to tame a work which finds its entire dimension close to a circle of initiated and lovers of an EM without auditory images. Circle of which Iím visibly not in it!

2012. Sylvain Lupari / gutsofdarkness.com & synth&sequences.com