Graeme Truslove from Glasgow, is in the spotlight for his Crónica Electrónica and his album Intuited Architectures, which is divided into six different mainly electronic and electroacoustic tracks. The limits and the fusion between these two different approaches is at the very basis of the author’s research. He is prone to audio-visual compositions and uses his laptop to take part in collaborative projects and participations. All the presented compositions display a double performative-algorithmic action together with a constant attention to the succession of sounds and synthetic timbres which are integrated in complex and well-supported time passages. What is important, apart from the tonal scales are also the intervals, the time gaps, the grainy mellowness of a lot of treatments, the contractions, the restarts, the ruckus and the concise angularities. All the electroacoustic equipment is thus included, together with digital sound pads and ultra-contemporary lyricism and spaces. The tendency is dynamic and the use of different sound sources makes the range of the presented compositions pleasant and airy. These should not be new to his followers from contests, cultural exhibitions and experimental festivals. The dissonances the organic and electronic sounds, the scraping modulations and the whole original manipulative processes have given birth to a range of expressive possibilities and unmeant combinations. At the same time the meticulous positioning of single sound impulses is altogether part of continues sequences, active settings and coherent plots. Intuited Architectures represents for Truslove a kind of closing up, the chasing of two extremes that in “Strataâ€, which is the final and longest track in the album, add delicate and nervous guitar chords. The guitar is the instrument of which Truslove is the master and its sounds are free from mobile and liquid sequences that don’t lack energetic passion and well codified correspondent features and performative style.
Via Neural