Giuseppe Ielasi,
Renato Rinaldi

"Oreledigneur" cd

-out of stock, get it from the artist.

Oreledigneur is the duo of Giuseppe Ielasi and Renato Rinaldi.
Their collaboration started in 1998 with the release of the cd "may 15th" (Fringes) with Domenico Sciajno and Gino Robair, followed by the first Oreledigneur LP (co-released by Fringes and Fusetron), in collaboration with Alessandro Bosetti.
On this cd, they are credited as playing 'big and small objects and instruments'. We can hear guitars (motorized, activated, and even conventionally played and filtered via tapeloops), field recordings (close miked small motors, working machines, nature and whatever), small percussion. The last section was recorded live in the open air, with the essential contribution of Stefano Pilia on loops and double bass. Recorded between 2002 and 2003 and assembled in the summer of 2003.

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Translating as "hare's ears," "Oreledigneur" has become a blanket term to mark the assorted collaborative works of this duo, proprietors and key players of the Fringes/Bowindo cam, responsible for two of the more remarkable release schedules in improvised elecroacoustics to appear in recent years. Though it is their third album under the name, Oreledigneur is the first produced by Giuseppe Ielasi and Renato Rinaldi alone, despite their countless outsourcing of material for labelmates' releases. Not only do the duo's friends feed happily off of their ever-expanding stockpile of skeletal acoustic ambience, field captures and intimate electronic scavenging, but the artists themselves draw from these private sessions to
fill gaps in their own solo work. A recent example would be Ielasi's Plans which uses generous helpings of Rinaldi's endlessly warm percussive meanderings and lush acoustic surface-testing to fill the gaps between the disc's more sculptural inclusions, like the cyclical guitar figures that help delineate the piece's turns. With such a picked-apart history, the Oreledigneur sound might be tempting to describe as glamorized filler, as the yet-unrefined bursts of inspiration from these two stalwart sound explorers, rushed to tape in a frenzy and either given over to future improvements or left to stew in their own crudity. Luckily, Oreledigneur the album, while not without its rough edges, is no collection of throwaways.
Rinaldi and Ielasi have clearly taken time to blend and polish five concise statements of mission, each a distillation of the tensions the duo seems compelled to uphold, and of the surprisingly "available" emotional quotient of their work, solo and otherwise. True to the sensibilities of both artists, there is a constant dynamic between sounds with a genuine "presence" or immediacy (often due to their connection with recognizable instrumentation or phenomena) and other sounds that appear as if glimpsed across a dreamy distance, suspended in the same near-nostalgic limbo that consumed Plans. Any sense of crudity in the music is likely an immediate response to the forced tension between the surface sounds, like the labored engine chugs or metallic patter that opens the disc, and the more opaque under-layers, the rich atmospherics flaking restlessly off Ielasi's brittle guitar or dropping from the great underwater bells and door-hinges that might now be signature Bowindo sounds. The effect of this kind of tension, rising as the disc progresses, is that the sounds more comfortably left half-filled-in, those shifting about with no clear resolution, become the ones that carry the greatest degree of emotive weight. The sense of longing
that these nebulous patches of chiming guitar and blooming analog fragments provoke seems somehow inappropriate in the face of the blank machine drones, everyday mechanics, and scattered street ambience that populate the foreground of Oreledigneur. The effected result, to borrow a phrase, is "nostalgia for nothing," emotion without center that shifts nervously, though sincerely, with each listen, guarded against sentimentality but always left somewhere, hanging. While the previous Oreledigneur productions offered similarly beautiful, barely-anywhere bits of ecstasy, neither came close to these trembling heights. - Andrew Culler

Oreledigneur, which is apparently Frioul dialect for "hare's ears" (now you know) is a duo featuring Giuseppe Ielasi and Renato Rinaldi "playing big and small objects and instruments", though for their now out-of-print first release on Ielasi's Fringes label a while back they were joined by Alessandro Bosetti (samples of another Oreledigneur recording made in a kitchen popped up on Bosetti's own Bowindo release Charlemagne, la vue attachée sur son lac de Constance, amoureux de l'abîme cachée). Like Ielasi's solo release Plans on Sedimental, the five (continuously running) tracks on Oreledigneur intentionally seek to blur the distinction between inside and outside, studio and field recording, improvisation and composition. So much so, and so successfully, that I'm at a loss whether to file the CD under "improvisation", "electronica" or "contemporary music" in my own ever more chaotic archiving system. Incidentally, if some of this sounds familiar, it's because some of Plans was based on Oreledigneur samples. Ielasi's guitar work sounds like a cross between Loren Connors and Keith Rowe, unashamedly diatonic but contentedly static, and drifts in and out of focus among looped clicks and clunks, fragments of conversation, what sounds like industrial ventilators, and, in the final section "recorded live in a garden", insects, passing aeroplanes, distant church bells and Stefano Pilia on double bass (hard to spot). Quite what the connection is between the music and the accompanying images of two men fencing on a deserted runway next to a space shuttle (is it?) taken from a book by Vincenzo Cabiati and Armin Linke called "Baikonur Cosmodrome" and presumably having something to do with the Soyuz space programme's old launch facilities at Tyuratam junction on the right bank of the Syr Darya River in Kazakhstan (honest injun - go Google), I don't know. It's one of the many mysteries of a haunting and evocative disc.(Dan Warburton, PAris Transatlantic).

More improvised is the CD by Giuseppe Ielasi and Renato Rinaldi. Ielasi you may know through his own Fringes label and Rinaldi released some music on Fringes. In this duet they play guitars treated in various ways (played with motors, conventionally played, and filtered via tapeloops), field recordings of all sorts and small percussion. Carefully they play around with this limited set of materials, but not like +Minus: Ielasi and Rinaldo do take risks at what they do. Peaceful strummings, the falling of objects and the soft rattle of contact microphones over surfaces. This is almost rock music less the rock and this almost singer-songwriter stuff less the singer. Delicate and intimate, but prepared to a risk or two. (FdW, Vital Weekly)