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, mechanic-
ally 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 samp-
ling but closer in style to musique concrete,
its principal sound source is recordings of
percussionist Malatesta improvising, stitched
together — by lelasi, presumably — into a dis-
orientating 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, bow-
ing and scraping. lelasi juxtaposes them
adeptly, creating polyrhythmic 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