Fabio Orsi & Valerio Cosi - We Could For Hours CD
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ASP26 - A Silent Place 2008 - 2024
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Original 2007 CD copies repackaged in a new cover. The old A Silent Place warehouse was flooded by water, so a big amount of goods has been destroyed, in particular the original covers and all printed matters. Few original CD copies were saved and now found, so a new edition has been released. Packaged in a new redesigned cover. Edition of 199 copies.
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"We Could For Hours is instability. It represents the will to open the gates of unknown. It is the dark, whispered sounds and hidden truths. Chaos. And now here it starts, everything takes form, sensations rise, objects acquire colours, distorted vision but still a vision of reality. Everything dances and follows the rhythm of music, an unknown tribal dance. Silence. Sounds follow themselves but always hidden in a veil of mystery, words are mute, everything is listening attentively to the enchanting melody of nature. Mind, free from human limits, goes straight towards a long journey and meets the supernatural and then sinks into the knowledge oblivion. Everything is nothing. Nothing is the time. Time becomes memory and memory brings us to happy thoughts that rise first, then fall in the end. Hallucinations. The precariousness feeling is overwhelming us, tollings of a clock without hands are molesting our ears and they scan the slow and endless flowing of life. Too late to be back. There's no possibility. We have to live desolate countrysides burnt by an August sun. Lysergic vision. Void."
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THE WIRE, UK:
< It takes collaboration with fellow Italian underground figure Fabio Orsi to clarify Cosi's vision. Orsi has a vocabulary of patient, abstract extended electronic loops and is adept at turning subtle textures into glacial themes. Cosi, mostly playing saxophone, benefits from this focus. Cosi's work is stripped of its more obvious allusions, and from just a single source manifests a profusion of ideas. Bringing the same liberal approach to the saxophone as his compositions, he uses his horn broadly as a tone-generating device. Throughout the disc, he loops, blends, processes and overdubs it into the fabric of Orsi's drones. He sits back for the first half of "Cold Fusion (In Our Fingers)" adding arcing laments to Orsi's slow-bellows pulse; for the second half he replicates his horn into a marching, bustling procession. "We Could For Hours: Part Two" pushes this anthemic quality to orchestral critical mass. Midway, the atmosphere swells with dissonant block chords, fragments of chanting saxophone, vocal samples and plangent arco-like timbres in the upper register. Cosi's work with Orsi surpasses the dense atmospheres of "Collected Works", engaging deeply with the sounds themselves rather than musical styles. >
SENTIREASCOLTARE, Italy:
"Primo tomo di una trilogia “pugliese” che il duo Orsi-Cosi ha in progetto di realizzare, We Could For Hours è un viaggio astrale tra le reminiscenze di ciò che permane di una tradizione in cui la memoria ha ceduto solo parzialmente alle tentazioni dell’oblio. Il tutto è filtrato dalla sensibilità porosa dell’estetica orsiana, permeabile alle influenze dell’environment in maniera concreta (field recordings) e non (nel momento in cui la storia e la geografia divengono categorie dello spirito). I saxoloop di Valerio Cosi concorrono ad alimentare l’aspetto sciamanico della questione, supportati dall’uso di synth, chitarra elettrica, arpa, in una scia elettroacustica ordinata e coerente.
E allora non stupisca se queste quattro tracce da una media di dieci minuti ciascuna riescono ad esprimere la secolare tensione tra amore e violenza in cui si specchiano le contraddizioni dell’Italia meridionale, e se sotto calotte di bordoni ed eruzioni elettroniche preme quel magma di ataviche passioni ormai esplorate e metabolizzate dagli stessi Orsi e Cosi. La celebrazione del divenire al suo grado zero, che è l’essenza stessa dell’ambient drone, qui diviene materia resistenziale, contro una visione monolitica e volgare di una cultura ancorata al passato molto più di altre. E nelle sue pieghe ritroviamo un caustico e vibrante riflesso del lavoro intrapreso da Carpitella alla fine degli anni Cinquanta: là la ricerca, qui l’arte."