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Pleq and Giulio Aldinucci meld their two approaches together for The Prelude To, resulting in a smoothed-out ambient glitchscape, basically. Field recordings and acoustic instruments are filtered into the mix subtly. Several remixes are included on the album, from the likes of Olan Mill and The Green Kingdom. On The Long Story Recording Company.
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- The Prelude To by Pleq and Giulio Aldinucci
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The drone beautification squad are in office again. Social butterfly Pleq hung us out to cry with the gorgeous but sorrowful ‘A Thousand Fields’, on which he enlisted Offthesky, a fellow of similar textural aspirations, as his sidekick. This time around, and in keeping with the cosy cronies affiliated with Home Normal, he brings Giuilio Aldinucci into the mix. Together they create the relaxing version of a tense album.
If you’re familiar with Pleq then you know the deal: at times there’s an homage to neo-classical, but it’s moderated by an obsession with building refusing walls of sound. The record begins with a near-melodious track in “The Prelude To” before rolling into a steadfast organ drone which eventually gets incorporated into a soft bout of pink noise; the two sounds run together as parallel lines. He and Aldinucci are crafting long, patient works here, and shifts in tone only happen as building blocks; there’s no knocking down this drone.
On “Middle Point”, the two artists profess their love for field recordings, bringing in a cantankerous mess of natural sounds before seemingly lifting off in a plane and leaving us to this mortal coil. The way they flow from these raw sounds into a synth-washed drone is unfathomably organic: there’s no cut in proceedings, just one long take in which percussive recordings melt into a long, drifting sustain. Beyond their impressive and seamless exhibition ambient, there’s three remixes to enjoy, including a humanising, vocalised take on "The Prelude To" by the Green Kingdom and a version of "The Joy of Loneliness" by the minimal but dramatic Olan Mill. If this album was a car wash then it’d have what they call the works.
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