last edited in April 2007    


A fierce and hypnotic music that wildly combines free jazz with elements of contemporary electroacoustic music and microtonal interplays. 7kOAKS – Massimo Pupillo (Zu, Original Silence) Luca Venitucci (Zeitkratzer, Ossatura) Alfred 23 Harth (Cassiber, Otomo Yoshihide New Jazz Quintet) Fabrizio Spera (Ossatura, Blast) manage to build up and maintain a feverish tension without ever loosening intensity.
The six compositions on this record come off as a very intense kind of blowing session, where the musicians are looking to discover things about each other and the music they were making, all seeming to be carefully considered even as they are improvising, proving that free improvisation can be as thoughtful, demanding, and precise as composed music - perhaps more so, judging from this astonishing record.

Alfred 23 Harth - saxophone, clarinet, electronics
Luca Venitucci - piano, accordion, objects
Massimo Pupillo - bass
Fabrizio Spera - drums

Recorded by Lorenzo Brilli at Diapason Studio. Rome Italy, August 2007
Mixed and mastered by Reeks at Hombrelobo, Rome Italy. October 2007

GENRE: free jazz, electro-acoustic, electronic
FORMAT: CD digipack
DESCRIPTION: Deluxe tri-fold digipack CD edition
PRICE: 15 euro

church of neutral - 4.34
foxp2 - 17.09
strategy of tension - 20.39
pi too - 9.19
the invisible tower -10.31

The Wire - March 2008 review

Italian guitarist Stefano Pilia is a lyrical minimalist. That turn of phrase must seem oxymoronic, depending on how austere your minimalism, but Pilia quietly and simply adheres to basic principles about the guitar. His playing evokes oceanic stillness, or tangles driftwood gently bobbing in one place, directionless after the flood. Pilia has already presented us with several solo records, the most recent of which, The Suncrows Fall And Tree, was one of the 2007's more eloquent explorations of drone. This interest is still in evidence on Action Silence Prayers, thought is far from the album's raison d'etre. Instead, the guitar is tenderly plucked, singing out calm, winding melodies and that kind of closely chorded, gently discordant shapes once perfected by Taku Sugimoto, Before he turn disappearance into an art form. On "Sky" Pilia applies a similar diffidence and quiet determination to plaing the piano, before an underwater loop for guitar, piano and a Marina Rosenfeld sample peacefully spools aut of audition, like tape unwinding from a reel-to-reel. "Sea" and "Land" bookend the set with texturological explorations that are more elegant than Pilia's previous drone outings. However , the solo guitar recitals are the most affecting pieces here. Wheter exploring the beating of notes just out of phrase , as on "Question", or skimming the guitar's surface with raindrop chimes, as on "Water", Pilia's playing is poised, higly articulate and emotionally generous.

Jon Dale