music won't save you

Original review in Italian - this is just the Google Translate version

Unlike many other artists dedicated to the electro-acoustic experimentation, Daniel Thomas Freeman needs very long time to develop their creations. It is no coincidence that his solo path, after the substantial disruption of what I saw him star in Rameses III, reaches only now the second episode, five years after "The Beauty Of Doubting Yourself".

All this is no doubt due to the parallel production and engineer of the British artist's sound, but above all to his practice of gradual layering of differently processed sound matrices that presided over the creation of "The Infinite And The Unknowable", an impressive listening journey of almost seventy minutes, it associated with an equally fundamental part narrative and visual contained in forty-eight pages of the booklet that accompanies it.

This framework, which also forms part of the work, defines the conceptual theme, summed up by human finitude Faced with long periods of history and nature, developed by Freeman through a combination of static frequency and striking openings of a minimalism focused on orchestral strings. So, in dark modulations droniche and sound fragments sequences that reflect the desultory nature variety, are poignant miniature symphonies (among all, "Tears For A Salt Land", "Oil Drum Requiem" and the concluding elegy "Reaching For The Stark Beauty of the Divine "), full of evocative pathos that combines cinematic suggestions to a throbbing pace, comparable even to changing the classification for strings alone orchestral post-rock.

In this operation Freeman keeps always alive and present the human component of their compositions, rinsaldandone the link to the land, to a tiny size and transient, and as such does not prevent him to measure himself, contemplating it and condensing it into music, with the majesty of unattainable ' Infinity.

Raffaello Russo
Wednesday 17 August 2016

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