driftingalmostfalling “King of Corns” is an ensemble piece constructed by Italian experimentalist Enrico Coniglio (last seen on these pages with his collaboration with Mateo Uggeri on the Dronarivm. This particular release on double LP, CD and digital saw the light of day through the US label Infraction,  hone to the likes of Offthesky & Pleq, Celer, Northern and others. It features outstanding art and layout from James and Heginbottom and Chris Bigg with deft mastering by James Plotkin.

According to the label “The My Home, Sinking project is one that has been in the works for well over a year. Enrico Coniglio is the artist behind the MHS name. He collaborated with a multitude of other artists and vocalists on “King of Corns”. It is a combination of Talk Talk’s latter-day “Spirit of Eden / Laughing Stock” style of restrained tension, experimental chamber music akin to Rachel’s, chilling vocal deliveries, Finnish Folk and windswept ambience”.

I will admit being bewildered by this release. Some records have tracks that sound familiar with the artist having their ‘style’, others have tracks that have their own feel, some follow a narrative, while others can be quite experimental where it is not easy to put your finger on what the artist is doing. This album falls in the latter category and requires, for me, repeated listening to get my head around it.

On the album Coniglio plays Guitars, Melodica, Harmonica, Horn, Electric Organ, Synthesizer, Psalter, Tapes & Vinyl, Found Objects and Field Recordings. As well as individual artists on particular tracks he is joined by Elisa Marzorati on Piano and Piergabrielle Mancuso on Viola.

“Bird’s Eye” starts with bell sounds, static, warped drones that sound treated, arching drones, Melodica and minimalist piano. There is a rumbling sound to the drones and straight away that Spirit of Eden influence comes through via the Melodica and the starkness of the piano. The drones feel like they are cut up as they intersect the sound palate and have a feeling of like being generates by a train on tracks, not that they have the sound, more like the undulations of sound that you would expect on a train track. In a way the sound palate for the album is introduced slightly with this opening track, but by no means defines what the rest will sound like.

“D’automne (The Sobs of the Violin)” has a repetitive guitar piece accompanied by piano stabs, sounds similar to those of a cash register and lamenting violin sounds. The elements are in a way are disparate as while the piano and the violin occupy a similar musical tone, the guitar playing is off kilter and rolls like a drunken man. There is a very folkish feeling to the track, but one that is sinister and slightly unhinged. Even though it is off kilter, it is the guitar with its rollicking playing which gives the track its rhythm, however off-center for the other elements then to attach themselves to.

“King of Corns” featuring Jessica Constable on vocals is a dark and sinister piece with Constable’s eerily almost indecipherable falsetto vocals that remind ever so slightly of Diamanda Galas along side a filmic soundscape of horror like suspenseful electronics that lurk around the tracks darker areas before revealing themselves towards the end of the track. Marzorati’s piano is used sparingly, but effectively adds to the sinister menace of the track.

“Animating Old Postcards (Aikaa ei Ole Olemassa)” features Violetta Päivännkkara on vocals, glockenspiel and effects. The acoustic guitar surrounded by a summery hum accompanies Päivännkakara’s childlike innocent vocals and the wispy drones of the Melodica. Shuffling, almost brushed percussion effects are added as well as chimes, glockenspiel which add to the vocal quality and give it a totally different feel to the previous tracks. Where the title track as all dark atmosphere, this one is the flip side of pure innocence, but still inhabiting a folk territory.

“Love Scene” features Peter Paul Gallo on vibraphone starts with a backwards loop effect, affected guitar and slow long violin lines which are lyrical in their playing. The vibraphone adds a crystalline sound which goes well with the backwards loops and provides a totally different texture to the violin. The guitar varies from being strummed, to plucked to being manipulated which works well with the loops. If this was a soundtrack to a movie I am not entirely sure what the visual representation for a love scene would be based on the sound of the track.

“Bird’s Eye (Interlude)” dark drones, distant violin, field recordings of blown air and static, piano form the sound elements to the track and are like the opening track, but one that has been stripped of its elements and reformed using not all the constituent parts to form a ghostly version. Not a remix or a reprise, but like a reduction of the opening track.

“The Day the Earth…(Clock is Ticking)” echoing electronics that sound like sonar blips and acoustic guitar and distant sounds that are looped, but then seem to come out as this growing drone from which scraping and long bowed violin appear and work in staccato fashion. The acoustic guitar has short, but repetitive pieces which act as like a metronome. Clicking glitches, minimalist piano stabs, horns and a plucking sound add to the noir-ish quality of the piece which sounds experimental,  but at times both modern and retro it its styling.

“Rachel on the Beach” fractured field recordings or tape loops that are shuffling in nature are joined by acoustic guitar which is paired with piano alongside drones and the sound of detritus or shells rubbing together. The piano that reminded me of the sound of Spirit of Eden is back to the point where I am expected minimalist Mark Hollis singing and horns wailing. Instead violin that is layered joins in and has a slightly subdued, but reflective quality.

“I can’t help it (But this is the end)” features Chantal Acda on vocals and features Peter Paul Gallo on vibraphone starts with an ambient drone, guitar, vibraphone, piano and electronics. There is shimmering quality that is brought out of the vibraphone that adds to the track. Harmonica enters the sound just before Chantal Acda transcendent vocals enter the track. I could happily listen to Acda sing the phone book such is the quality of her voice. The harmonica that enters where she sings “This is the end” brings the track up to another level. As well as the piano, the electronics of an unknown nature steer this unconventional conventional track to its end. Probably the highlight of the album.

“Along the Pipeline” features James Murray on Organ, Vocals and Loops starts with field recordings, strummed drones which radiate outwards, piano stabs heavy in sound and minimally spaced, with ethnic sounds and low pulsing electronic loops that start pulsing metronomically. Ethereal vocals briefly enter and depart and enter again, but it is the stark minimalist piano that is the instrument that is the key to bring on the other elements. It feels like it controls the mood and the pace while giving space for the other elements to find their position. The track is like an experimental chamber piece with a noir-ish, but electronic edge.

“Full Blank (No Stars)” featuring Jessica Constable on vocals and James Murray on Electronics starts with tape loops and Constables layered falsetto and emotional singing over distant sounds of piano and violin, drones and scattered electronics that have a storm ravaged like quality. There is a dark underbelly of electronics that are indistinguishable, but add to the menacing quality of the track. I have to admit not knowing what Ms Constable is singing about, but her vocal delivery is truly frightening.

As I stated before, I am totally bewildered by the album. When I think I have a handle on it, I am thrown into left field. But, by not being able to easily pigeon-hole it, it is open to more interpretation and revealing of all the layers. I would describe Coniglio as an experimental composer with an ear for construction and also for layering and working with disparate sound sources. If you like going down the rabbit hole, this album may be for you.

TEXTURA Cryptic, disturbing, and eerie, like an Edgar Allen Poe poem rendered into gothic musical form, King of Corns is an undeniably arresting recording from Enrico Coniglio, operating in this case under his My Home, Sinking alias—not that the recording’s tone should come as a total shock when the striking achromatic image on its cover shows a woman with black holes for eyes and a necklace of roses. Recordings by the Venice-based sound artist always reward one’s attention, but this one does even more, not only because of its macabre tone but also thanks to the contributions of others, vocalists Jessica Constable, Violeta Paivankakkara, and Chantal Acda among them.

Par for the Coniglio course, the multi-instrumentalist contributes a diversity of sounds to the eleven set-pieces. Guitar, melodica, harmonica, horn, electric organ, synthesizer, found objects, field recordings, and programming are among the elements with which he’s credited, but equally important to the album’s sound design are the vibraphone, piano, and viola playing of Peter Paul Gallo, Elisa Marzorati, and Piergabriele Mancuso, respectively. The vocalists’ impact is even more critical, considering that each of the three sings in a manner distinct from the others. Put simply, King of Corns benefits greatly from the guests’ involvement.

Both vocal pieces and instrumentals appear on the release. “Bird’s Eye”—the track title, fittingly, calling to mind Poe’s The Raven—introduces the album on a broodingly atmospheric note, with Marzorati’s fragmented piano figures intoning clearly amidst a thick sludge of harmonica, surface crackle, and groaning guitar textures. Things takes an especially harrowing turn in the title track when the nightmarish effect of Constable’s cryptic vocal delivery—as much spoken as sung—is augmented by a creepy piano motif and the shudder of string-generated glissandos. Softly uttering lines such as “Black night, bleeding sun” and the Pynchon-esque “A comet comes across the sky,” Acda’s lyrics in “I Can’t Help It (But This is the End)” are emblematic of the album’s dark tone, even if, soundwise, the song itself is one of its prettiest. A dramatically different mood is instated when the fragile hush of Finnish artist Paivankakkara imbues the harmonica wheeze and glockenspiel tinklings of “Animating Old Postcards (Aikaa ei ole Olemassa)” with an almost fairy tale-like quality.

Often subdued in presentation, the instrumentals provide restful stopping points along the journey. On “D’automne (The Sobs of the Violins),” Mancuso has his first moment in the spotlight, in this case a rather decrepit one when his viola softly wails alongside Coniglio’s acoustic guitar and Marzorati’s piano; a second one emerges later during the peaceful “Love Scene,” the violist’s emoting now partnered with Gallo’s vibes. Replicating the unsettling tone of the title track is “The Day the Earth… (Clock is Ticking),” a ponderous meditation whose creaks and metronomic pulse lend the piece a ‘world-is-ending’ vibe. Also contributing to the album is ambient sound artist James Murray, who collaborates with an electric guitar-wielding Coniglio on “Along The Pipeline” and conjoins electronics to Constable’s singing on the closing “Full Blank (No Stars).”

If there’s an album concept in play, it has less to do, I suspect, with a specific theme than with mood, an impression formed by the material’s enigmatic, often expressionistic character. Each of the album’s settings offers one surprise or another, and their unpredictability keeps the listener on edge, waiting with anticipation for whatever disturbances the next one will bring.

RADIO SHERWOOD George Gordon, Percy, John, Mary e tutti voi laggiù, anime in quiete nel silenzio del sonno dettato dall’assenzio. Harold, vecchio viandante del deserto, tu che usi la solitudine della nota per orientarti e tu Brian, gran cerimoniere di epoche future immerse nell’immobile svolgersi del tempo. Vi invito tutte, anime gentili, vi indico la via verso un luogo segreto abitato dal vento e dal frastuono silenzioso delle spighe di mais da lui accarezzate. Vi troverete a vostro agio in questa casa che dolcemente naufraga nell’immensità di un suono che colpisce il cuore radunando attorno a sé il ricordo di uno sguardo rivolto all’oscurità e la visione luminescente di un venire che sa mantenere la memoria e la dolcezza appartenenti ad epoche lontane. Enrico Coniglio, novello King of Corns banchetta attorniato dalla grazia dei suoi commensali in un salone sospeso nel tempo, un luogo dal quale si può intravvedere il futuro del suono, quantomeno un suo possibile sviluppo. Molti sono gli artisti invitati a questa celebrazione. Tra i presenti spiccano per intensità e dolcezza, le tre diverse firme vocali di Chantal Acda, Jessica Constable e Violeta Paivankakkara. La sensibilità inconfondibile del tocco di James Murray e la splendida magia pianistica di Elisa Marzorati. A chiudere il parterre artistico, Peter Paul Gallo al vibrafono e Gabriele Mancuso alla viola. A dirigere questa orchestra tutta virtuale, il sorprendente sound designer veneziano che riesce a tessere un complicato e sofisticato arazzo con i fervidi e al tempo stesso oscuri colori di un futuro sonoro che tenta di svincolarsi con somma intelligenza dalla stagnazione imperante di un secondo millennio bloccato dentro canoni di insostenibile ripetitività. Ci verrebbe da definire King of Corns come un disco post-tutto, i suoi solchi reclamano l’appartenenza al suono ambient, folk…con qualche accento, credo non voluto, al neo-folk. Si ritrovano intrecci classici, contemporanei e post-moderni, sound-art e video arte presente con i filmati che accompagnano questa e le altre uscite discografiche del progetto MHS – MHS/Fluid Audio 2013 e Sleet/cassetta autoprodotta uscita nel 2015 – . Probabilmente una delle più interessanti uscite di quest’anno. [Mirco Salvadori]

VITAL WEEKLY 1105 If you’d asked me this morning ‘so Enrico Coniglio, what is it that he does’, I’d probably said something along the lines of ‘isn’t he that Italian ambient musician, lots of guitar, effects, loops made?’ (the rhetorical part to cover up possible mistakes of course), but after hearing My Home, Sinking, his latest moniker, I have to revise that a bit. First of all there is quite a cast of extra players here, adding vocals, viola, vibraphone, organ, glockenspiel (none by people I immediately whose names I recognized), while Coniglio himself plays most instruments; guitar, melodica, harmonica, horn, electric organ, synthesizer, psalter, tapes & vinyl, found objects, field recordings & programming. Yes, there is surely an ambient ring to these eleven pieces, but it is extended to so much more than that. It has a pastoral feeling, these pieces, slow and peaceful, and quite rightly Infraction Records places this along the lines of Talk Talk and Harold Budd, as diverse as that may seem (well, maybe not!). Not all of this is perfectly played, which I think is the beauty of it, as it seems to me that some players had a free role in adding sounds on the pieces in a more freely improvised manner. There is a folktronic, jazz noir and trip hop feeling to this music. ‘I Can’t Help It (But This Is The End)’ sounds like Portishead, especially of course in the voice of Chantal Acda, in what is perhaps the more conventional bit on this release. There is a smoky atmosphere to this music, which is alike a fifties black & white movie (French no doubt); spooky, haunting (‘Full Blank’ for instance, the nightmarish closing piece) but also serene and introspective.
The cover is black and white and reminded me of 4AD Records. This didn’t seem a typical Infraction Records release, but it fits their catalogue really well. It’s moody and dark, it’s ambient and not just that and it is reaching for the outer limits of pop music (again, think 4AD and for instance This Mortal Coil). This is an excellent release. [FdW]
––– Address: http://www.infractionrecords. com/

ROCKERILLA Si respira aria di musica colta, mentre scorrono i brani di King of Corns. E soprattutto si intuisce che Enrico Coniglio è riuscito nell’ennesimo salto di qualità: il suo ensemble viaggia spedito verso territori insoliti per la musica alternativa contemporanea. L’ampio supporto strumentale (viola, tastiere, armonica, chitarre, sintetizzatore, vibrafono) evoca gli impasti astratti dei Talk Talk o di Harold Budd, e aggiunge contributi vocali di spessore (con tanto di cantante in finnico). Rarefatti ai limiti della trasparenza, spesso distanti dalla classica forma-canzone, questi brani conservano una potenza espressiva innegabile. [Francesco Buffoli]

DIE Subjectivisten Enrico Coniglio is een Italiaanse componist, die sinds 2002 onder zijn eigen naam acht albums uitbrengt, waarvan één met Matteo Uggeri eerder dit jaar. In 2013 debuteert hij als My Home, Sinking met zijn gelijknamige cd op het fijne Fluid Audio label. Hij maakt er haast een This Mortal Coil achtig geheel van met allerlei gastzangeressen, waarbij hij verder een overtuigende, etherische mix van ambient, speelse elektronica, neoklassiek, etherische postrock en uiterst subtiele experimenten ten gehore brengt. Van dit project verschijnt nu de tweede cd King Of Corns. Coniglio (gitaar, melodica, harmonica, hoorn, orgel, synthesizer, psalter, tapes, vinyl, veldopnames, programmering, gevonden voorwerpen) wordt hier vergezeld door Elisa Marzorati (piano) en Piergabriele Mancuso (altviool). Daarnaast zijn de zangeressen Chantal Acda, Jessica Constable en Violeta Päivänkakkara (tevens klokkenspel, effecten), vibrafonist Peter Paul Gallo en zanger/organist James Murray te gast. Dat levert een meer experimentee, minimaall en folkgericht geheel op, waarbij ook neoklassiek, ambient en drones de revue passeren. Voer voor fans van Ian Hawgood, Richard Skelton, Orla Wren, Tape, Morgen Wurde, Talk Talk en Colleen. Bezinnende breekbare pracht.

MUSIC WON’T SAVE YOU Compagni di viaggio in larga misura nuovi, per Enrico Coniglio, nel terzo episodio dell’ensemble aperto My Home, Sinking, nel quale l’artista veneto riserva tuttavia una costante sensibilità d’approccio nella sua ricerca di soluzioni cameristiche di eterodossa, palpitante emozionalità. “King Of Corns” amplifica le potenzialità suggestive del progetto, al pari della sua stimolante varietà, apportata non soltanto dai profili dei musicisti che affiancano Coniglio, ma dalla versatilità che ne caratterizza tanto le sospese ambientazioni sonore quanto le incursioni, sulle ali di chitarra e armonica, in una dimensione acustica intrisa di decadente malinconia.

L’itinerario degli undici brani di “King Of Corns” si sviluppa come un intreccio narrativo articolato in diverse scene, personaggi e codici espressivi, che muovono dal pianoforte di Elisa Marzorati sul romantico incipit “Bird’s Eye” per restare in equilibrio sui dolenti movimenti degli archi di Peter Paul Gallo e Piergabriele Mancuso e su granulose sospensioni organiche, alle quali ha collaborato altresì James Murray, interpolate da ricorrenti stille armoniche e vibrazioni acustiche. Anche l’elemento vocale compare per brevi tratti a coronare le pièce così risultanti, che prendono forma di evocazioni spettrali (in particolare nella title track e nel tenebroso finale “Full Blank (No Stars)”) e di confessioni di fragile grazia emotiva (“I Can’t Help It (But This Is The End)”, cantata da Chantal Acda).

Lavorando appunto alla costruzione di un suono cameristico di umbratile post-modernità, Enrico Coniglio e il suo mutevole ensemble hanno così dato forma a un’opera di bellezza straniante e coinvolgente, che trascende canoni espressivi, combinandoli in una dimensione acustica densa al tempo stesso di pathos, atmosfera e armonia. [Raffaello Russo]

soWHAT Un sipario si dischiude lasciando apparire una scenografia essenziale sulla quale si avvicendano i personaggi di un enigmatico dramma dai contorni incerti. Continua a percorrere trasversalmente il mondo dei suoni Enrico Coniglio aggiungendo, dopo l’emozionante collaborazione con Matteo Uggeri, un nuovo tassello che ancora una volta conduce verso latitudini inattese chi abitualmente frequenta la dimensione della narrazione ambientale.

La teatrale sequenza di “King of corns” si apre sulle nebbiose saturazioni di “Bird’s eye” dalle quali lentamente emerge il suono profondo del piano introducendo gli elementi che compongono un affascinante microcosmo in cui si susseguono  enfatiche scene dominate da una propensione melodica accattivante. A dare forma a questo caleidoscopico scenario contribuisce un’ampia serie di collaborazioni che arricchiscono di preziose sfumature il flusso sonico. Imprescindibile alla definizione delle atmosfere risultano così le trame minimaliste e classicheggianti di Elisa Marzorati combinate alle liriche tessiture della viola di Piergabriele Mancuso (“D’automne (The sobs of the violins)”, “Rachel on the beach”) che diventa malinconica voce nel delicato dialogo con il vibrafono di Peter paul Gallo (“Love scene”).

A caratterizzare ancor più le oniriche visioni di Coniglio concorre la presenza di varie tracce vocali declinate in maniera eterogenea. Intensa e carica di drammaticità è la recitazione di Jessica Constable (“King of corns”, “Full blank (No stars)”), magico ed evanescente il canto di Violeta Päivänkakkara (“Animating Old Postcards (Aikaa Ei Ole Olemassa)”), malinconico e avvolgente quello di Chantal Acda sul contrappunto sintetico affidato a James Murray (“I Can’t Help It (But This is The End)”).

Un’opera dalla quale emerge potente un senso di raffinata coralità diretta con grande sensibilità da un autore che si dimostra sempre più sfaccettato e alla costante ricerca di ambiti da lui inesplorati. [Peppe Trotta]

BEACH SLOTH King of Corns opts for a pastoral folk with “My Home, Sinking”. Incorporating a wide slew of stylistic choices including post-rock, modern classical and jazz the album teems with life. Balance between the cacophonous and the caring shifts over the course of the album, which takes its time, spreading out over vast fields. Everything works for the songs radiate warmth and contentment. The instrumental richness goes beyond any mere genre, for the usage and playfulness of edits allows the songs to oftentimes take on a surreal bent to their approach. Songs neatly play off each other, resulting in a vast sea of sound, one that King of Corns spends great time navigating with ease.

Setting the tone for the album “Bird’s eye” starts things on a note of anticipation, letting the work hover above it all. Downright tragic the string work of “D’automne (The sobs of the violins)” gives the piece such emotional heft. Akin to a long-lost Penguin Café Orchestra track, “Love scene” serves as the highlight of the album. With a cyclical style the song spins around with such luxury, allowing the vibraphones a slight hint of dreaminess. Taking its sweet time “Rachel on the beach” opts for a calm meditative mood. Continuing down this path “Along the pipeline” allows for a gentle pulse to guide it along. Ending things on a spectacular note is the majesty of “Full blank (No stars)”.

“My Home, Sinking” proves the power of letting silence speak volumes.

ONDA ROCK Il progetto parallelo My Home, Sinking incarna la vena più “romantica” del sound artist Enrico Coniglio, principalmente dedito a una ricerca immersiva nel suono naturale e le sue possibili relazioni con quello di matrice antropica. Con un self-titled nel 2013 e due anni più tardi “Sleet”, audiocassetta in edizione limitata, “King Of Corns” sembra portare a compimento il lento processo di maturazione poetica dell’autore – già espressa quest’anno nel delicato surrealismo di “Open To The Sea”, in duo con Matteo Uggeri – che da un’iniziale autonomia sul processo di registrazione e editing ha aperto sempre più le porte ai preziosi contributi di altri musicisti (sette gli ospiti qui coinvolti).

Quasi un’opera corale, i cui tasselli sono tuttavia assemblati con una coerenza compositiva tale da non lasciare dubbi sulla sensibilità di colui che li ha convogliati nella forma finale dell’opera. Dopo le malinconiche vedute invernali degli album precedenti, la chitarra folk e l’armonica alla Mark Feltham di Coniglio si prestano al tratteggio di uno scenario bucolico che porta con sé il sentore di una tragedia sfiorata, come sembra già annunciare l’incipit “Bird’s Eye”, dove il pianoforte di Elisa Marzorati richiama quello di Atticus Ross in “The Social Network” – mentre in seguito il tocco di riferimento sarà più quello di Harold Budd.

Concorrono alla qualità cameristica dell’insieme il vibrafono di Peter Paul Gallo e la viola di Piergabriele Mancuso – talvolta agrodolce, talaltra frenetica e stridente come i soundings di Malcolm Goldstein (“Love Scene”). Ma gli interventi più fulgidi e caratterizzanti sono senza dubbio quelli delle cantanti: nella title track Jessica Constable offre una performance vocale dolente e soffocata, dal sapore gotico e fortemente teatrale, sulle note del più tenebroso notturno ligetiano; la finlandese Violeta Päivänkakkara è la presenza fatata che illumina dall’interno una replica sbiadita della realtà (“Animating Old Postcards”);  da par suo, invece, la solista Chantal Acda intona con voce fragile e flautata “I Can’t Help It (But This is The End)”, probabilmente l’unica canzone in senso tradizionale e proprio per questo ancor più emozionante al momento del suo approdo.

Ci si potrebbe stupire nello scoprire una così spiccata sensibilità melodica da parte di un artista che di norma lavora con i suoni naturali: secondo logica, tuttavia, proprio il dono di conferire musicalità o potere narrativo alla materia viva dà senso alla spontanea scrittura strumentale di Coniglio e alle sue qualità di “orchestratore”. Nel suo incedere con eleganza d’altri tempi, “King Of Corns” esercita sull’ascoltatore una seduzione carezzevole e agrodolce, che alle tinte dark contrappunta spesso e volentieri dei più concilianti chiaroscuri, nell’equilibrio precario e sublime che è proprio della forma poetica. [Michele Palozzo]


CHAIN D.L.K The thorny stems on a white background of the sleeve artwork is the diaphragm of this lovely sensorial experience by My Home, Sinking, the project by which Venice-based musician Enrico Coniglio build an ideal bridge between his visionary approach to ambient music and acoustic instruments and the theme of the release, which got announced by the title of the first track “Super Sad True Love Story”, perfectly matches both the cassette format and the very first sensation that hits listener’s sense, which is not aural but olfactory. The scent from two dried brambles in a little sachet surrounds listener just like the melancholic music, finely crafted with the support of Piero Bittolo Bon (flute), Katie English (cello), Giovanni Natoli (drums) and Peter Paul Gallo (vibraphone), emphasizes the heart-rending somber story told by the voice of Natalia Drepina. The guessed balance of enchanted pastoral folk-like detours and electronics over the whole release erupts into a daydreaming drone just in the final part of this storytelling, when “Cold Stars” gives even more impetus to the narration. Just 66 copies have been printed of this graceful sonic trinket. I warmly reccomend to add one to your musical collection. [Vito Cammaretta]

Saverio Rosi’s quote Ho l’impressione che se anche non conoscessi Enrico, che in verità frequento solo “per corrispondenza”, avrei comunque sentito l’esigenza di manifestargli il piacere autentico che l’ascolto di “Sleet” mi ha provocato. Raramente, un lavoro, mi sorprende per davvero –  sono sicuro, poi, che con “Sleet” Enrico non abbia coltivato certe, ormai frequenti, precise intenzioni -. Tutto è misurato ma senza che sull’ascoltatore gravi il peso del calcolo.  La raccolta di canzoni/lieder è memorabile. Perfetto il supporto del nastro col suo inevitabile fruscìo – temevo fosse un cedere alle mode del momento – : quasi un layer involontario. I suoni, certi rimandi a Canterbury, al folk più intimista tipico del miglior progressive inglese, contribuiscono a disegnare un quadro nostalgico, a tratti malinconico, ma mai disperato. Sono polaroid che ritraggono minimi momenti privati, stanze, oggetti, persone e piccole memorie. Come un racconto ricopiato da un taccuino scritto in punta di matita. Breve ma davvero molto intenso.

THE NEW NOISE My Home, Sinking è il nome del progetto “a formazione aperta” col quale Enrico Coniglio fa incontrare il mondo elettronico-digitale con uno musicalmente più vicino alla “tradizione”. In questo caso abbiamo una storia triste raccontata da una voce femminile e sorretta da un folk vulnerabile (mi è venuta voglia di risentire il solista di Beth Gibbons), devoto al passato, tanto che Enrico a un certo punto mette in sottofondo il crepitare di un vinile, quasi volesse farci credere che quello che stiamo ascoltando è un vecchio disco che abbiamo preso da qualche rigattiere o da qualche cantina di un nostro parente più vecchio, una perla che porteremmo volentieri a qualche Finders Keepers di turno per farla ristampare. Così non è, lo comprendiamo tutti quando irrompono elementi estranei (ma non fuori posto nella narrazione), ad esempio in “Carnival”, che sfocia nel drone sognante di “Cold Stars”, uno dei marchi di fabbrica del sound artist, che qui si dimostra bravissimo “regista sonoro”. Commovente, inoltre, la cura artigianale della confezione di questa cassetta.  Dunque si tratta di un oggetto da possedere per un fracco di buoni motivi. [Fabrizio Garau]

ROCKERILLA Probabilmente una tra le migliori produzioni ascoltata negli ultimi tempi. Con Sleet, Enrico Coniglio ci conduce oltre il confine del già visto e sentito, descrivendo un ambiente sonoro inabituale per i suoi fidati ascoltatori ma ricco di spunti innovativi. Un crossover che permette una visione ampia, fa comprendere come l’interazione tra diverse forme espressive sia cosa auspicabile e di bellezza unica. Questo è il racconto di una vergine e di un dono miracoloso, una storia che scivola lungo il nastro di una cassetta interamente creata a mano e in 66 copie. E’ l’incontro tra il freddo bagliore delle stelle e il calore di una voce narrante. Pastorale acustica. [Mirco Salvadori]

MUSIC WON’T SAVE YOU Fin dalla sua prima manifestazione sotto forma dell’omonimo album del 2013, My Home, Sinking ha rappresentato il punto di incontro di artisti dalle abilità e dai retroterra musicali molteplici.

A due anni da quello splendido lavoro, il progetto guidato da Enrico Coniglio torna a dare segni di sé, sotto forma di una breve cassetta, autoprodotta in un’edizione limitata. Cambiano, in parte, i compagni di viaggio dell’artista veneto negli otto brani di “Sleet”: a Katie English si aggiungono nell’occasione la cantante Natalia Drepina, Peter Gallo, Piero Bittolo Bon e Giovanni Natoli, grazie ai quali prende forma un ensemble orientato a un bilanciamento tra ricerca elettro-acustica ed esplicitazione di un linguaggio folk.

In appena ventisei minuti, “Sleet” dipana un contenuto narrativo dagli cinematici, attraverso un intreccio tra brevi sospensioni elettro-acustiche e sorprendenti schegge di un folk antico, sulle quali si costruiscono occasionalmente miniature di canzone dall’obliquo sapore sixties (in particolare la title track). La sensazione è confermata e anzi alimentata da ambientazioni strumentali cesellate con grande cura e delicatezza, che tuttavia non disperdono la sensibilità sperimentale di gran parte degli artisti coinvolti, riscontrabili nella dimensione evocativa che pervade il lavoro e nella stessa filigrana di calde note acustiche stillate tra cadenze jazzy, microsuoni pullulanti e suggestivi abbracci ambientali.

Non cessa di riservare sorprese, dunque, l’articolato universo sonoro di My Home, Sinking, collettivo aperto la cui esperienza rappresenta qualcosa di estremamente particolare, in un’ibridazione di storie e linguaggi espressivi tanto ambiziosa quanto coinvolgente da un punto di vista ulteriore rispetto a quello meramente intellettuale.[Raffaello Russo]

TEXTURA Enrico Coniglio’s latest My Home, Sinking release proves that a cassette release can make as strong an impression as one in any other format. In the case of Sleet, the Venice-born sound artist has packaged its cassette within a customized wrap-around paper cover featuring a woodcut-styled image on the front and on the inside two letterpress-printed inserts displaying recording details and a small pergamino paper bag containing dried brambles. It’s issued in a limited run of sixty-six copies, the first six of which include handwritten lyrics and a small portrait of singer Natalia Drepina.

Coniglio can craft an ambient soundscape with the best of them, but My Home, Sinking naturally highlights a different side, this one specifically centered on moody pastoral-folk music that’s largely acoustic and redolent of ‘60s music production. And while the project is very clearly Coniglio’s baby, Sleet is not a solo recording: in addition to Drepina, it features contributions by flutist Piero Bittolo Bon, cellist Katie English, vibraphonist Peter Paul Gallo, and drummer Giovanni Natoli. Coniglio himself is credited with guitars, electric organ, clarinet duduk, tapes, and vinyls.

The release’s ambient-folk soundworld is quickly established by the brief intro “Super Sad True Love Story,” with its vibes and evocative electro-acoustic blend, and the haunting title track, a timeless folk song wherein Drepina’s voice alternates between undoctored and treated presentations against a backdrop of flute, organ, and arpeggiated acoustic guitar picking. A hint of ‘60s psychedelia seeps into “Sheperd’s” when Drepina’s spoken text is uttered alongside organ-like mist, and the setting’s meditative feel is augmented by the woodsy flutter of the clarinet duduk.

Side B’s “Chains,” on the other hand, assumes somewhat of the character of a prog-folk instrumental when mellotron sounds join vibes, flute, acoustic guitar, and drum brushes and cymbals. A few other directions are pursued on the second side, too: though it also includes Drepina’s spoken word musings, “Carnival” is an electro-acoustic soundscape of the kind more associated with electronic production; and “Cold Stars” moves the recording away from the folk realm by emphasizing e-bow electric guitar textures and ambient-drone atmospherics. Sleet is anything but slapdash in its presentation and content, and with such a generous variety of musical styles on display, Coniglio’s cassette outing amounts to a complimentary portrait of the artist.

A CLOSER LISTEN The surprising thing about Sleet is how warm it sounds, considering its title.  This is the second winter-themed release from My Home, Sinking, both released in May, when garlands and dances around the maypole are more in fashion.  Instead of capturing the feeling of sleet, it captures the feeling of sleet outside when all is safe and warm inside, a group of friends trading stories in dialogue and lyrical song while softly playing the instruments they have brought to the house.

The lineup has changed slightly since the self-titled debut.  This is still Enrico Coniglio’s baby, but apart from Coniglio, only Katie English (cello) appears on both works.  Their interplay still counts for a uniformity of sound.  But new moments stand out here, especially those in which one or two instruments act in twain: the guitar and vibraphone, joined by light drums on “Chains”; the field recordings, vinyl crackle and plucks of “Carnival”, the most sleet-sounding track on the cassette. In these moments, the release brings to mind Plinth’s Wintersongs, although that release was entirely instrumental.  “Come to my lip and sink in the sea”, whispers Natalia Drepina later in the track: a gentle siren.

When the electric organ and flute duet on the title track, the feeling is one of intense peace.  Drepina shares a gentle tale, then steps back to allow the music to take center stage.  “Sheperd’s” is a bit stranger:  “he’s a boy, 13 years old, and he still can’t count.”  This allusive song ultimately becomes a tale of mercy and understanding. Odder still is the end of Side A, the only point at which the collection seems ready to go off the rails, with field recordings that sound like a series of snores. But after repeated plays, it all begins to make sense; after all, winter is the time of hibernation, while spring sleet is snow trying desperately to be rain.

Sleet is an extremely personal release, available only in a small run of 60, which is why we’re publishing this review a bit early; the cassettes will go on sale in two days.  These letterpressed beauties include two cards and a small bundle of twigs.  My twigs look painfully sharp, but are sealed in an envelope so as not to harm. The same may be true of the season, filled with thorns yet devoid of flowers. Only by wrapping them in music can we tame their propensity for harm. But then we realize that they, too, are only protecting their own. [Richard Allen]

Along the pipeline

ROCKERILLA Otto compilations in tre anni, migliaia di download, nomi di spicco e un livello musicale decisamente di rispetto. Questa è FutureSequence equesto sembra sia l’ultimo capitolo prima di una trasformazione invera e propria label. Fatte le somme, all’interno dell’interacollezione potrete trovare oltre 300 artisti che rispettano lafilosofia ambient e la divulgano, ognuno con le sue peculiarietà,tutti accumunati dal rispetto per il silenzio e ciò che in esso siracchiude. In questo ultimo capitolo nomi conosciuti ed altri da scoprire con un’eccezione italo/inglese formata da Enrico Coniglio ed Elisa Marzorati assieme al londinese James Murray, ovvero “My Home, Sinking”: traccia sublime. DA COLLEZIONE. [MircoSalvadori/Massimo Caner]


THEFOUROHFIVE There’s been so much love for the Behind the Art features here on The 405 that we’ve decided to do something a bit more regular on album artwork and packaging. We’ll be looking at amazing album covers, beautiful hand-made packaging and the kind of limited-edition special packages that will have you buying them before you’ve even heard the band.

My Home, Sinking is the work of Venetian ambient musician Enrico Coniglio, a surprisingly-restful meditation on his home city eventually disappearing into the lagoon. The music is startlingly pretty on its own, but the packaging really is something to behold.

The hand-numbered, typed envelope that encases the whole package is just the beginning – inside, the CD is accompanied by a twelve-page photographic booklet, there are five bespoke postcard prints on thick-stock card, all of which is wrapped inside lyric sheets. The look is tied together by really high-quality paper, a clean white colour scheme and simple, old typewriter-style typography.

And the crowning glory? Every copy comes with a REAL ACTUAL piece of pressed lavender to make your record collection smell nice. These Venetians know a thing or two about presentation.

THE BREAKFAST JUMPERS Enrico Coniglio, compositore veneziano attivo già da una decina d’anni, si veste di un nuovo nome per un particolare progetto ricco di collaborazioni e soffici sperimentazioni sonore. My Home, Sinking è un meraviglioso disco ambient che vi cullerà fino alla perdita dei sensi con i suoi undici paesaggi sonori sottilmente tracciati a matita, tra voci bisbigliate e campionamenti ambientali diluiti all’infinito. E anche voi sprofonderete.

WAS IST DAS? Read the review here.

CHAIN D.L.K. Many ambient lovers acquainted themselves with the music of Venice-based talented soundscape sculptor Enrico Coniglio, who surround himself with a group of musicians and vocalists, including cellist and flutist Katie English aka Isnaj Dui, talented Galway-based singer and artist Laura Sheeran aka Glitterface and his partner-in-art Marc Aubele, enviro-mentalist musician and photographer Orla Wren, sound and voice artist Barbara De Dominicis aka Anti-Gone and Sean Quinn from Tiny Magnetic Pets for the debut release of his collaborative project “My Home, Sinking”. The stylistical drift of Enrico’s ice pack, which glided over glacial sonorities and awesome illustrative sonic power, towards post-rock fields sounds clear since the introductive track “The Void”, whose piercing icy wafts got cracked by bright guitar strokes an strums, which firstly meet English’s cello on the following track “Morning Walk”, where you could almost feel the screeching sounds of an opening door’s rusty hinges and the snugness of a lonely walk. A feeling of nirvanic composure permeates the lulling “Fading To White”, which Laura Sheen superbly translates into a siren chant, whose fatalistic declension got emphasized by the way she repeats a refrain, saying ‘There’s no sun, there’s no love, there’s no God above can bring me back to your heart’, which could vaguely echo the emotional atmosphere of her mini-album “Murderous Love”, if you already know some previous releases by this talented singer. The journey of the imaginary traveller over glacial expanses goes on over mirages and beatific visions at dusk (“Skyline Obscured”), the strange ravishing of “Sunset Eyed”, where a chidish lull clashes with the desolate lyrics of De Dominicis, temporary refuges (“Truna”), moments of prostrations, which got rendered by the beautiful two parts of “The Body Tired”, glazing hallucinations, which sound evoked by the astonishing drift of “Descending” and the hypnotic vibrato of “Touching The Void”, and glimmers of hope (“Trump Trump”).

OMOTE “My Home, Sinking” è il nuovo progetto a formazione aperta del sound artist veneziano Enrico Coniglio, cui si unisce un gruppo di musicisti di rango quali Barbara de Dominicis il cui contributo vocale è immediatamente riconoscibile nelle tracce “Touching the Void” e “Sunset Eyed” accompagnata dal violoncello di Katie English, Laura Sheeran (fantastica in “The Body Tired”), Korg Monotron al pianoforte, sintetizzatore e field recordings, Orla Wren e Marc Aubele. Una fascinosa sinergia di intenti ed un risultato sonoro ben definito quanto caratterizzato da ognuno degli ospiti del progetto con il proprio apporto elettronico ed acustico. Il tutto rilasciato in un’elegante edizione limitata a 250 copie di cui attualmente ne rimangono appena una manciata, ed acquistabili sul sito bandcamp: Come al solito, la complessità ed il fascino di un album non possono trovare giustizia in un breve sunto, men che meno in questo caso…

THE JOURNALIST.IE An atmospheric, snow-covered video for My Home Sinking track ‘The Body Tired’ has been released, featuring vocals from Irish avant-garde musician Laura Sheeran who co-wrote the song and Katie English a.k.a Isnaj Dui. Perfectly capturing the isolated visceral landscape of the music, director Elio Dainese’s camera focuses on wide vistas, delivering a sense of openness and loneliness to the visuals. The glacial pace of the accompanying music video, holds itself in a form of stasis, voyeuristically watching the narratives subjects, using glaring natural lighting and the slow, quite aesthetic of snow falling to create an overall feeling of separation. Indeed the video stops midway to simply rest on this breath-taking locale. A beautifully ambient track, ‘The Body Tired’, is a collaboration between Enrico Coniglio, Laura Sheeran and Katie English. Featuring echoing down-tempo percussion that pushes the composition rumbling forward, the music winds itself around the haunting double tracked legato vocals. Uneasy lyrical content, utilizes words and phrases like “burying” “sleeps” “under the cold blue”, reaffirming the sense of displacement and isolation that is mirrored in the shimmering echoes of the musical textures beneath. A beautifully shot and delivered video, that fits contextually with the supporting music ‘The Body Tired’ by My Home Sinking featuring Laura Sheeran and Katie English is a perfect synthesis of the sonic and the visual. Watch the video for yourself by clicking below. [Stephen White]

BEACH SLOT My Home, Sinking is quite fragile. The sound is deeply mournful. Guitars pluck out into oblivion. Behind them are various sonic effects. A few times the sounds come together into vaguely familiar pop formats but this is rare. Vocals are the prerequisite to those rare more accessible moments. With vocals come unusual rhythmic devices trying to maintain a beat of some sort. No matter what the songs conjure up images of isolated sonic spots. Also another defining feature of the album is its insistence to move at its own slow pace. ‘The Void’ begins it with a mellow introduction that enjoys stretching out. ‘Fading To White’ manages to take up a marginally more conventional approach. Depressed lyrics help to keep it feeling rather downtrodden. One of the gentlest, sweetest songs is ‘Skyline Obscured’ which is a definite highlight of the album, perfectly calm. ‘Descending’ takes a darker approach employing great amount of distortion. ‘Touching The Void’ returns to the bleak environment of the beginning as the sound manages to become overwhelmingly sad. By the finale ‘Trump Trump’ the album takes a different approach sounding akin to an icy field recording (complete with snow stomping). Lonely yet warm the few tones that make up these eleven songs help to bring the listener in from the cold. If these tones did not exist this would be a distant record. With the warmth of the guitars or nebulous sounds the album takes on a whole different dimension, one of hope and of continually moving forward however slowly.

ROCKERILLAWEB Il lento scorrere del plettro sue sei corde tese attraverso l’indefinito, appena accennato muoversi dello sguardo, lungo l’invisibile confine della quiete. Sembra una composizione d’altri tempi, questo nuovo lavoro firmato da Enrico Coniglio. Accompagnato da affascinanti dame votate a segrete vocalizzazioni orfiche, creature avvolte nel loro ancestrale strumento o stralunati maghi capaci di modulare incanti su vecchi sintetizzatori galleggianti nel nulla profumato di melodia. Una cerimonia d’altri tempi, illuminata con i chiaroscuri di un’arte pittorica che fonda le sue basi nel diffuso suono folktronico, evolvendo poi verso i mai dimenticati paesaggi chill di vibrante raffinatezza ambient. Una Comunicazione sonora Globale che ha il dolce sapore del passato filtrato attraverso la consapevolezza del futuro. Il contributo di Barbara De Dominicis e Laura Sheeran è semplice delizia, le loro voci sorreggono la leggerezza dell’immagine ed illuminano di bellezza e giocosa malizia un percorso musicale che si vorrebbe infinito e non racchiuso nelle undici tracce che lo delineano. Materia malleabile colma di sogno, rifinita con la magistralità data dal lento e sapiente fluire dei suoni, come le lievi increspature di un mare le cui onde dolcemente si frangono, le une sulle altre. Pregiata edizione curata nei minimi particolari e limitata a 250 copie. Preziosità da possedere. [Mirco Salvadori]

THE NEW NOISE Enrico Conglio è un sound artist veneziano già finito su Glacial Movements e Silentes, che tra le altre cose gestisce la net label Galaverna assieme a Leandro Pisano di Blow Up. My Home, Sinking è un suo progetto a formazione aperta, si direbbe. A seconda delle tracce entrano in gioco Katie English (violoncello), Laura Sheeran (voce), Barbara De Dominicis (voce, la conosciamo per la collaborazione con Julia Kent), Orla Wren (piano), Seán Quinn (synth) e Marc Aubele (backing vocals). Il suono che salta fuori è meticcio e molto poco freddo: è una tendenza che si trova spesso in Italia in questi ambiti, con tutto che è una cosa che prima o poi tanti musicisti elettronici sentono di dover fare per umanizzarsi, basta pensare oggi alla 12k, Taylor Deupree compreso (uno a cui poi alcuni italiani si rivolgono per il mastering e considerano fonte d’ispirazione). Stabilito che non è un’invenzione nazionale, insomma, negli anni però sono stati in parecchi dalle nostre parti ad aggiungere chitarre acustiche, melodia e field recordings che suggeriscano un contesto quasi bucolico, come per trasmettere un’idea di “organico”. In My Home, Sinking, poi, c’è macroscopico l’ingresso – per certi versi coraggioso, anche se potrebbe sembrare il contrario – della voce femminile, tanto che in una recensione si tira in ballo anche la 4AD delle origini: quando tocca alla Sheeran, del resto, si arriva sino alla forma-canzone vera e propria, mentre lo spoken word della De Dominicis in “Touch The Void” fa venire in mente gli accostamenti già operati da Alberto Boccardi nel suo esordio dello scorso anno. In altri casi, infine, spunta il “dronegaze” (“Descending”), coerente con l’impianto sognante del resto. In generale, in questo disco sorprende la capacità di Enrico di gestire tutti questi elementi e fare qualche passo in più su terreni in apparenza non suoi: abbiamo due o tre squarci di indiscutibile bellezza, pochi sbadigli e giusto un paio di scelte un po’ troppo carianti. Edizione limitata che – nel momento in cui scriviamo – grazie al marchio di fiducia Fluid Audio è andata quasi del tutto esaurita (le ultime copie sono in vendita sul Bandcamp del progetto). Vedremo se metteranno tutto in download o faranno una ristampa. [Fabrizio Garau]

ROCKERILLA n.394/MUSIC WON’T SAVE YOU L’ambizioso obiettivo di aprire a linguaggi inediti le proprie sculture di spazi sonori anima il nuovo progetto collaborativo di Enrico Coniglio. In My Home, Sinking, lo sperimentatore veneziano è affiancato, tra gli altri, dal violoncello di Katie English (Isnaj Dui) e dalle voci di Barbara De Dominicis e Laura Sheeran, che ne arricchiscono la tavolozza di chitarre, synth, organi e field recordings. Frutto di una pluralità estremamente coesa, il lavoro spazia in maniera significativa da riverberi e texture ambient-acustiche a onirici frammenti vocali, che in un paio di occasioni assumono le sembianze, imprevedibili ma ammalianti, di canzoni provenienti da un’altra dimensione. [Raffaello Russo]

AMBIENTBLOG.NET Enrico Coniglio often refers to Venice (Italy) in his music, which may explain the name of his new project. Released by Fluid Audio in a stunningly beautiful package (which is quickly selling out so don’t hesitate) it marks the label’s venture into new musical territory: ambient/experimental/improv crossover to rock/pop oriented music. This might have been risky ’cause when it failed it would have lost both audiences. But with this incredible set – and the help of people like Barbara De Dominicis, Laura Sheeran, Orla Wren and Katie English – Enrico Coniglio and Fluid Audio manage to define a completely new quality standard.[/expand]

A CLOSER LISTEN Supergroup alert! When Enrico Coniglio decided to record a new type of album, he didn’t want to go it alone. In 2011, he released a track titled “The Void”, which appeared on Wire Tapper 26 under his own name. That track launches My Home, Sinking, which then branches out in all directions with contributions from Katie English (cello), Laura Sheeran (voice), Barbara De Dominicis (voice), Orla Wren (piano plus), Sean Quinn (synthesizers) and Marc Aubele (backing vocals). The result is a mesmerizing disc in the 4AD tradition, suffused with a shimmering beauty and a simmering menace. For two tracks, the album is entirely instrumental, linking the new material to the old. A strange looped knock, like a hoof print in snow, turns the timbre of “Morning Walk” into something foreboding. Even the melancholic guitar and cello can’t disguise the fact that bitterness has entered the air. Those familiar with Laura Sheeran already suspect that a cold wind is near; Sheeran’s dulcet tones often hide a pinched pain. On “Fading to White”, she sings, “There’s no sun, there’s no love, there’s no God above can bring me back to your heart”, echoing the rules of Aladdin. No magic lamp or deity will force a lover’s affection. In “The Body Tired, Pt. 1″, she sings of a buried key and a boy asleep at the bottom of a lake. If Sheeran weren’t wearing a wedding ring in recent photographs, we’d be worried. De Dominicis’ “Sunset Eyes” lightens the mood somewhat with childlike tones and bells; that is, until one realizes that she’s talk-singing about corpses. What is going on here? Clear hints are apparent in the album’s title and cover art. This album isn’t meant to be uplifting; it’s a disc of dissolution. In the intermittent instrumentals, one can hear the house sinking: the knocking on the hull/hall of “Truna”, the slow fuzz of “Descending”, the frigid electronics of “The Body Tired, Pt. 2″. ”Snowflakes came down like small knives”, sings De Dominicis on the final vocal track. But the album ends on a note of hope: “Trump Trump” is a field recording of footsteps on snow, purposeful and resolute, the sound of someone who has survived and has the will to soldier on. [Richard Allen]

TEXTURA Considering how well My Home, Sinking works as an encompassing portrait of Enrico Coniglio’s talents, one part of me wishes he had simply issued the electro-acoustic recording under his own name rather than as a self-titled release under a new alias. The forty-four-minute set documents Coniglio as musician (electric guitar, harmonica, melodica, percussion, voice), soundscaper, composer, and field recordist, as well as sensitive accompanist to cellist Katie English, vocalists Barbara De Dominicis and vocalist Laura Sheeran, and others. Presented in Fluid Audio’s usual deluxe manner (a four-panel letterpressed cover accompanied by a twelve-page photographic book and five bespoke prints), the release has been made available in an edition of 250 physical copies.
Fans of experimental-ambient guitar playing will right away cotton to My Home, Sinking when it starts with the reverberant twang and shimmering haze of “The Void” and evokes some heat-drenched, limitless expanse of desert. English’s first appearance occurs on “Morning Walk” where her restrained sawing provides a stark contrast to Coniglio’s delicate strums and percussive treatments. The album’s song-styled dimension comes through in “Fading to White” when Sheeran’s angelic vocals appear alongside cello, guitars, and harmonica wheeze. De Dominicis (Parallel 41) brings her distinctive Sprechstimme style to the slow-motion lilt of “Sunset Eyed” plus a girlish warble and deep-throated vibrato to “Touching the Void.” My Home, Sinking’s ambient identity, on the other hand, surfaces in the soothing meditation “Skyline Obscured,” while a more texture-heavy soundscaping style infuses “The Body Tired” thanks to Orla Wren’s piano and synthesizer, English’s cello, and Coniglio’s guitar. On the field recordings tip, “Trump Trump” onomatopoeically presents the sounds of footsteps trudging through the outdoors. The tone of the album is generally restrained, with Coniglio and company emphasizing a gentle and nuanced approach in their vocal reveries and instrumental scene-paintings. With one exception (“Descending,” where Coniglio unleashes some raw guitar fireworks), My Home, Sinking doesn’t impart its message abrasively, in other words, but instead aspires to seduce the listener through subtler means.

DE SUBJECTIVISTEN De Italiaanse componist Enrico Coniglio maakt al sinds 2002 albums onder zijn eigen naam. Zeven om precies te zijn en meestal vol neoklassiek, ambient en experimentele muziek. Nu debuteert hij met dit nieuwe project, in gelimiteerde oplage uitgebracht op het spraakmakende Facture, dat gelieerd is aan Fluid Audio. Hiermee sluit hij naadloos aan op zijn vorige werken, zij het dat hij er een haast This Mortal Coil-achtig geheel van maakt. Dit komt onder meer door gastzanger(es)s(en) Barbara De Dominicis, Laura Sheeran en Marc Aubele, maar ook door de bijdragen van celliste Katie English (Isnaj Dui) en toetsenist Orla Wren (Tui). Verder zorgt Coniglio met gitaren, synthesizer, harmonica, melodica, sampler, veldopnames, vinyl en spoken word voor de rest. Hoewel je al verkocht bent door de verbluffende verpakking, is de muziek ook weer van een bijzondere buitencategorie. Een overtuigende, etherische mix van ambient, speelse elektronica, neoklassiek, etherische postrock en uiterst subtiele experimenten. Dit had in de jaren 90 zo op 4ad gepast. Diepgravende, intieme en bovenal onaardse schoonheid en zielenroerselen maken hier namelijk de dienst uit. Fans van Cocteau Twins, Birds Of Passage, Richard Skelton, This Mortal Coil, Grouper en Heidi Harris weten hiermee wel raad. Prachtig!

NORMAN RECORDS Probably reaching the point where intricately prepared packaging moves from the homespun and lovingly prepared into borderline mental illness. Despite my worries about the obsessiveness of the preparee, I’m still going to award this the coveted packaging of the week award. It’s in a textured white envelope, numbered of 200, inside an elaborate fold out thing tied together with ribbon, and inside that a booklet. Separate to that is a paper pouch containing several postcards. The music is slow moving, creepily atmospheric with gently plucked guitars, the quietest of hand-made beats and cellos played so carefully that you can hear the squeak of the hair on the string. It’s quietly impressive in that it has an unusual timbre to it, quite unlike anything else around this week. The second track, however changes tack completely, seemingly the sound of a totally unrelated band to the soft musings of the opener. Post rock guitars take precedence with shoegazer style female vocals and a more strident approach which conversely is less impressive. Some of the atmospheres recall a tranquilised Piano Magic whilst ‘Sunset Eyed’ (it took me 10 minutes to find the titles) reminds me of Scottish Bjork-like electronica duo Conquering Animal Sound. A mixed bag then of atmospheric textures, sometimes ambient to the extreme sometimes more in the experimental post rock vein.

EXPERIMEDIA MAG From Fluid Audio, the UK stalwarts of all things instrumental and somber, comes a trademark release that encapsulates many facets of their distinct style.  With his debut as My Home, Sinking, Enrico Coniglio charts a course of windswept atmospherics and an unlikely post-rock feel that does away with the genre’s often trite structures for something lively and altogether enthralling.  The self titled album is diverse and emotive at nearly every turn, from the slow motion guitar reverie of “The Void” to the dousing of distortion on “Descending” to the downcast chamber-pop that places the vocal layerings of Laura Sheeran and Marc Aubele front and center on “The Body Tired Pt 1.”  The exquisite CD comes with a letter pressed cover, photography booklet by Giacomo Vianello, archival paper, and pressed lavender.  As it should be, the package it comes in is as lovingly crafted as the music it holds. [Ryan Potts]

LOOP.CL Italian sound artist Enrico Coniglio who has been active since 2007 releasing in several independent imprints and more recently running the Galaverna netlabel, features his self-titled album ‘My Home, Sinking’ with the contributions of Katie English (cello), Barbara De Dominicis (lyrics and vocals), Orla Wren on piano, synthesizer, field recordings and processing, Laura Sheeran (lyrics and vocals), Sean Quinn (synthesizers) and Marc Aubele (backing vocals) and Enrico Coniglio on guitar, electronics and vinyls. This record is mastered by artist Ian Hawgood, head of Home Normal label. This album surprised me because I related Coniglio more with soundscapes that with song structures. However, the atmospheres are beautiful and the sweet female vocals give to this record warmth and deepness. [Guillermo Escudero]