Punctually, as we do every year, we return to review a date on the bill of the Fosfeni electronic music festival. In a lineup strongly geared towards illustrious names from the past (Cluster, Alvin Curran), the presence of Alva Noto shifts the focus to innovation straddling music, science and the visual arts. His illustrious collaborations are too numerous to count, just as his merits as a composer and musician are countless.
In an unexpectedly packed hall, the concert impresses with a direct, lean and highly accessible impact. The contained length of the pieces performed (drawn from "Unitxt") is a decisive factor, further aided by an impeccable presentation. In a context like this, visuals are essential, since they help achieve the total immersion needed to fully enjoy the show. Too often, however, what's projected has nothing to do with the sound, the fruit of a visual narcissism that's an end in itself. The German artist, meticulous performer that he is, doesn't fall into this trap, and nails every audio/visual match with the precision of a seasoned professional. Purpose-built software launches visuals inspired by a vaguely futuristic aesthetic; pixels with a cybernetic flavour hypnotize the listener and envelop the senses in an all-encompassing way.
The music doesn't yield a millimetre of melody without indulging in noise, striking an admirable and ecstatic balance. His is an abstract techno, framed by a sea of glacial glitch glacial dust, laid over a bed of rhythms and unhealthy convulsions. Never a note out of place, no excess to speak of: this is a show that sits halfway between art and science. And it's precisely the scientific component that accounts for this immaculate executional precision. As with the return of the Pan Sonic towards the end of 2009, Alva Noto confirms his stature and gives no room for criticism, sculpting sounds with effortless ease, putting on a show unrivalled, in perfect symbiosis with the audience.
The only real criticism concerns the length: even though this isn't a rock concert, barely an hour (including a brief return to the stage after the ending) is truly meagre given the quality on display. Beyond that, a detached approach to the audience doesn't affect the final verdict — after all, we're in the presence of a "professor" who, in his line of work, can afford the occasional venial sin without disappointing.
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This article is an English translation of the original Italian text by OndaRock Staff, published on OndaRock.it. It was translated with the help of artificial intelligence, under the editorial responsibility of OndaRock's editor-in-chief, Claudio Fabretti.
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