Giuseppe Ielasi/
Enrico Malatesta

CD (E150)

Giuseppe Ielasi: electric motors, field recordings
Enrico Malatesta: percussion

Rudimenti was recorded in two separate sessions in
Milano and Oreno during winter 2011–12 and then
edited and recomposed as a single 26-minute track
in summer 2012.

See also
Giuseppe Ielasi (E129)
Out of print

Edition of 300 copies

Reviews (in Russian)

[Ielasi’s] motors are tiny and necessarily remind one of
Taku Unami’s work form a few years back, producing a
gentle, skittering sound, mechanically rhythmic but soft.
Malatesta interacts on the same low level, sliding between
the motors, injecting a good variety of rhythms and pitches.
The field recordings, to the extent I can pick them up,
are kept low in the mix, tingeing the simmering clatter
(as ever, I have a tough time distinguishing between water
droplets and fire crackle!). The work is segmented (it was
put together from a couple of sessions); toward the end
there’s an upsurge in both volume and density, a small
climax if you will, followed by a really lovely coda of sorts,
a dry, slowly surging pulse against those possible drops,
really very beautiful. On the whole, a very intriguing piece,
alternately absorbing and ignorable (not a bad thing) and
rather different from other music I've heard from Ielasi in
recent years.

Brian Olewnick at Just Outside

Michal Fundowicz at Nowamuzyka (in Polish)

Like much of lelasi’s recent work, Rudimenti focuses on
the potential of rhythm through compositional techniques
reminiscent of sampling but closer in style to musique
concrete, its principal sound source is recordings of
percussionist Malatesta improvising, stitched together —
by lelasi, presumably — into a disorientating 26 minute
patchwork. There are very few beats to be heard —
the emphasis is on sustained clusters of small percussive
sounds, along with varieties of rubbing, bowing and
scraping. lelasi juxtaposes them adeptly, creating poly-
rhythmic contrasts which would have been impossible
for Malatesta to achieve naturally, but which are never
showy and always true to the style of his playing.

Nick Cain in The Wire