1/ Shaken (Edwin,Feliciati) 5.56 2/ Alice (Feliciati) 5.54 3/ In Dreamland (Edwin,Feliciati) 6.25 4/ Breathsketch (Edwin,Feliciati) 3.27 5/ Transparent (Edwin,Feliciati) 4.55 6/ I-dea (Edwin,Feliciati) 6.01 7/ Conspiracy (Edwin,Feliciati) 3.44 8/ Perfect Tool (Edwin,Feliciati) 4.11 9/ Sparse (Edwin,Feliciati) 4.52 10/ Yügen (Edwin,Feliciati) 6.20 11/ Solos (Feliciati) 6.39 Recorded at Yellowfish Studios, UK Assisted by Jake Rousham, Nightspace, UK Drums on tracks 1 and 8 recorded by Alessandro Marcantoni at Metropolis Studio Milano, Italy Mixed translation by Bill Laswell at Orange Music, West Orange, NJ Produced by Lorenzo Feliciati and Colin Edwin Executive Producer: Giacomo Bruzzo Mastered by Mike Fossenkemper at TurtleTone Studios, NYCColin Edwin: fretted and fretless basses, elbows, rhythm programming, SuperEgo; Lorenzo Feliciati: fretless and fretted basses, keyboards, guitar, Space Station; Nils Petter Molvaer: trumpet (5,9); Roberto Gualdi: drums (1,8); David Jackson: saxophone (6); Andi Pupato: various percussion, metalics (4,6,10,11).
2014 - RareNoise Records (UK), RNR 037 (12") 2014 - RareNoise Records (UK), RNR 037 (CD)Note: The vinyl version does not contain tracks 4,10 or 11 and sequences the tracks in a slightly different order.
Italian Lorenzo Feliciati (Naked Truth, Berzerk!) & Colin Edwin (Porcupine Tree, Metallic Taste of Blood) do more than simply amplify the role of the bass twofold on their upcoming collaboration for RareNoise Records Twinscapes, they collectively expand the harmonic palette of instrument to demonstrate how it’s capable of going way beyond just emitting deep toned pulses.
The two use many tools available to convince you of that: fretted and fretless basses, various effects and pedals, like “SuperEgo” and “Space Station.” It’s all applied to create a space fusion that groove, soothes and euphonic. So much so, that you don’t need bass solos at all to enjoy it but there are a few included to further your listening enjoyment.
“Shaken” immediately establishes the template: Textures and harmony in pursuit of whatever sounds good, is the name of the game (and with Bill Laswell mixing these recordings, the sheen on them is unquestionably silky). Roberto Gualdi is thrash-grooving on the drums like Edwin’s PT mate Gavin Harrison, but it’s Edwin soloing on fretless bass that takes center stage. Feliciati finds his role playing by octaves on his bass, among other things, extending the range of his instrument that co-exists alongside Edwin playing it more traditionally, and doing so without intruding in the least.
Feliciati’s rhapsodic “Alice” is a groove slathered in space and ambience. It’s undertaken with the composer playing the main bass parts while Edwin undertakes the lyrical parts, almost assuming a singing role. Both of the main protagonists exploit pedal effects for Dreamland,” which some may call a downtempo tune but this one sports an actual bridge. A fantastic bass solo by Edwin erupts after that, percolating like Jaco.
For those looking for a little metal in their fusion, “Conspiracy” does the job, a funk-rock electro beat with metallic velour. One bass is playing a lead guitar role inside a lot of space left between the low and high ends. “Perfect Tool” suggests electronica dance, but made more intriguing by the layers stacked on top of the programmed riff, which moves into another one. Both bassists can be heard grooving in different, complimentary ways.
This is just the kind of musical environment experimental ambient trumpeter Nils Petter Molvær thrives in, so perhaps it’s not that surprising he was brought in to lend his lonely, resonating tones to the tracks “Transparent” and the as-advertised “Sparse.” Van der Graf Generator saxophonist David Jackson is utilized brilliantly on “i-Dea,” where against a 21st century world fusion backdrop, Jackson is dubbed over himself to create a unique sax harmony that resembles synth chords and then he solos over it. It creates quite an ethereal effect.
Steeped in a rich complexion and gleaming musicianship that serves the song, not the ego, Twinscapes is the one you save for your good headphones and just get lost in it.
S. Victor Aaron (courtesy of the Something Else! Reviews website)
A heady, bizarre sonic brew in which ego is not a factor and dialogue and interaction are key elements.
Porcupine Tree albums take up a large space on one of my CD shelves, so I’m quite familiar with Colin Edwin’s work, and quite fond of it as well. I also quite like Metallic Taste Of Blood—a self-titled album from 2012 by Eraldo Bernocchi, Jamie Saft, Balazs Pandi and Colin Edwin, which was also released by the adventurous London-based RareNoise label. My first encounter with Lorenzo Feliciati’s work, was when Naked Truth‘s second album for RareNoise, was released in 2012. What I really love about these two talented bass players, among other things, is that their presence, even though highly effective, never overshadows the other instruments. They simply do what’s necessary for the track to shine. Empty technique displays are really not their thing.
Over a short period of time, the two creative minds have managed to concoct a heady, bizarre sonic brew in which ego is not a factor and dialogue and interaction are key elements. Apart from Edwin’s fretless and fretted bass, E-bow and programming work, and Feliciati’s fretted and fretless bass, keyboard and guitar work, Twinscapes also features electrifying contributions by renowned trumpeter Nils Petter Molvaer, former Nik Bärtsch’s Ronin percussionist Andi Pupato, saxophonist David Jackson (of Van der Graaf Generator), and drummer Roberto Gualdi. There are certainly sparks and tension throughout the eleven tracks, and chemistry is on display. While spacey progressive rock might be the first thing that comes to mind when Twinscapes‘ first track spins, soon afterwards it becomes clear that the affair is too colorful to be squeezed into one genre box. Edwin and Feliciati are men of eclectic explorations, and so are their co-conspirators. Ambient, jazz, electronica and progressive rock flirt with each other, and even a bit of dub kicks in perfectly on “In Dreamland.” Everything propels with intensity and tightness.
According to the press release, Edwin and Feliciati did not have much time to plan things, and had only a small amount of rehearsal, but as Edwin says: “It certainly felt like we had a natural way of playing together. Without any real discussion we managed to find a way of fitting around each other, despite occupying the same frequency area.” That natural spark between the two is well felt in all of the tracks. If Twinscapes is what they have created over such a short period of time and without any real discussion, I wonder what will happen if they will have more time to do things. Hopefully, Twinscapes is a harbinger of sharper and even more adventurous things to come from this cooperation.
Nocturnal Ghost (courtesy of the Igloo Magazine website)
Bassists Colin Edwin (Porcupine Tree) and Lorenzo Feliciati (Naked Truth, Beserk!) and several prominent guest artists venture towards the constellations via these bass-driven jaunts, shaded with streaming electronics, firm backbeats, and wraithlike soundscapes. Shortly after the first listen, I detected a kinship to bassist/producer Bill Laswell's early, bass- heavy ambient electronica outings and soon noticed that he engineered the mix for Twinscapes.
The first several tracks contain loping bass grooves amid tastefully applied and largely, discreet otherworldly electronics treatments. The bassists yields a rather enchanting vista. Yet the second half of the album is where things pick up, or perhaps advance to the next logical level. On "Transparent," Norwegian trumpeter Nils Petter Molvaer's shady and echoing lines ride atop an electro- percussion world beat vibe that casts a far-reaching and spacey panorama and could serve as an opening theme for a sci-fi thriller. "i-Dea" follows, and features legendary progressive rock saxophonist David Jackson's (Van Der Graaf Generator) corpulent tone, blustery overlays, and serrated single note phrasings. Here, the bassists employs harmonics and supports Jackson with a hefty presence, reinforced by percussionist Andi Pupato's (Nik Bartsch's Ronin) multicultural rhythmic jamboree. However, the pulse is notched up a bit on "Perfect Tool," which combines a bubbly techno vamp with the bassists' slinky patterns and subtly delivered harmonies.
The final piece "Solos," is designed with dreamy passages and tangy electronics patterns, riding above Edwin's massive and resonating drum programming sequence that heaves matters into a march- like progression, veering into an interminable void. In sum, Edwin and Feliciati take it easy on the soloing front, and concentrate more on framing capacious, pulsating utopias that often impart a lofty degree of musical escapism.
Glenn Astarita (courtesy of the All About Jazz website)