Rome-based ambient electronic composer Ascanio Borga apparently spent his childhood pursuing classical piano lessons, before a divergence into rock bands and early experiments using the Amiga’ Soundtracker application lead him to pursue making music using computers in earnest. He’ also got a background in mathematics and theoretical physics, which certainly explains the fractal-based graphics and geometrically fixated title that grace this independent CDR album release. What’s perhaps slightly more curious is why I’m only just receiving Inner Geometry to review now, given that it represents Borga’ debut album originally released back in 2001, and has since been followed by two subsequent albums, 2002′ Liquid Symmetries and 2006′ more industrial-tinged Bad Ground. While the sleevenotes reveal that the four expansive instrumental tracks here were recorded and produced during the period 1998-2001, any initial fears of the contents sounding noticeably dated are soon allayed, perhaps in part a result of the comparatively “timeless’ ambient motifs that dominate the foreground here.
Opening title track “Inner Geometry’ takes things on an epic nineteen minute long glide through delicately ringing glockenspiel tones, yawning treated guitar feedback, brooding synthetic bass drones and undulating electronics, the entire effect gelling to create a sense of time slowing down that definitely evokes Klaus Schultze’ hypnotic electronic arrangements. While there’ the odd hint of brooding undertone lurking beneath the glittering vibraphone melodics, the abiding mood is primarily wide-eyed and beatific, a vibe that “Self Interference’ turns towards considerably more menacing territory with its tidal rise and fall of ominous stormcloudlike distorted guitar feedback. Fifteen minute long track “Circular Dream’ meanwhile opts for more optimistic-sounding atmospheres, stretching delicate arcs of delayed-out guitar harmonics out like classical cello tones over a wash of enveloping fog-like ambience in what was easily my favourite moment here, before “Oblivion’ takes things out amidst stately-sounding organs drones in a suitably evocative closer that manages melancholy in a beautifully understated manner. Six years on, Inner Geometry still stands up as a strong example of the ambient genre, and based on this initial listen, I’d be very curious to hear what Borga did next.
Chris Downton
