© 2017

Triac
In A Room
LAMINAL002.2014

Edition of 500.

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PHYSICAL | CD

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1. Part I
2. Part II
3. Part III
4. Part IV

Augusto Tatone electric bass
Marco Seracini piano, synth
Rossano Polidoro laptop

I´ve had the fortune of following the talented musicians of Triac over the few years of existence. There seems to be a great deal of interesting things coming from Italy at the moment. Triac are in the forefront of the scene that incorporates sound design into improvised and contemporary classical music.
Jan Bang
Kristiansand, May 27th, 2014

Triac is an electronic music trio from Italy formed in the end of 2011 by Rossano Polidoro (ex Tu m’, Line USA), Marco Seracini and Augusto Tatone. They use laptop, fisa, electric bass, piano synth to investigate minimal ambient music. They create audiovisual art installations about relations between sound space atmosphere and natural elements.

Reviews

The Sound Projector, Thomas Shrubsole:
Live-looped fluff-balling nimbus ambience-by-trio, candy-floss grey ornamentation with a ‘live in room’ angle moving it a half-step from neo-classicism recorded straight into the line-input, far enough to glean some early reflections now and again. Encounter on spinning something akin to the Alva-Noto modus operandi – instruments plus live processing (in this case piano, synth and electric bass are duly operated on) – if they were footloose and fancy-free and spent long minutes gazing at the overcast reflected in their dancing shoes and love loved Paris in the Springtime. Blushing and rosy pads meet these cloud chamber aesthetics, and sometimes, just sometimes, there is a far off grumbling from the electric bass. A grumbling that is, since we shall try to stay in keeping with the Romantic implications of the resolutely melodic substrate, let’s say: ‘like the far-off rumbling of thunder on an idle summer’s day’. All very consonant and consistent of tone, electronic pings in the first track and the aforementioned shading on the bass add a measure of variety to an otherwise homogeneously pleasant, if tepid and often somewhat sugary, bathwater (too sticky a combination for me, I’m afraid.) Sometimes, as with the repeated melodic synth motif that the last track is built around, everything become a little more apparent, in focus and demonstrative and in doing so teeters squarely the standard. Nevertheless, I could certainly see this release being appreciated as a part of any collection that requires gauzy, sedative, beatless ambiences with a measure of restraint, professionalism and poise. On the flipside that doesn’t necessarily indicate distinctive character or twists as such, but perhaps these wouldn’t be prime concerns for anyone interested in hearing this. Certainly any fans of the more horizontal offerings from labels like Kranky or Kompakt or artists like Celer, not to mention of the whole gamut of instruments plus laptop live-looping combos – from the ambient end to the more modern (neo-)classical (aka ambient 2.0) factions, where it also seems to be quite a popular working method – would I’m sure find some mellow pastel smudging to appreciate and dissipate to.

Brainwashed, Creaig Dunton:
Triac formed in 2011 although did not release their first recorded material, In a Room until just last year. The Italian trio featuring former Tu M' member Rossano Polidoro (laptop) Marco Seracini (piano and synthesizers) and Augusto Tatone (bass) create glacial, yet gripping minimalist music in the spirit of Polidoro’s previous project. Both that and their follow-up record Days have a similar, consistent sound, although growth and development can already be heard from one album into the next.
There is a certain classical sensibility to the four pieces that make up In a Room, mostly in the form of lush, repeating motifs. Individual instruments are rarely obvious, rather things blend into a misty miasma of veiled melodies and synth noises. The opening "Part I" is the most airy moment here: gentle space looms, punctuated with some occasional swells of low frequency sound (possibly Tatone's bass guitar?) to pepper the loop-heavy sound. There is a cyclic structure that is very apparent, but never does it feel repetitive and via synth strings and pulses, the last half especially shows marked evolution.
"Part II" begins with the trio hinting at a sound that will appear further on in the album, as well as characterize the subsequent Days more heavily. The opening minutes are more forceful and heavy tone-wise, although the heaviness eventually subsides and becomes a lighter piece of drone. There is a mass of shifting melodies to be heard, but compared to the first piece it is more basic from a compositional standpoint. In general that darker sensibility appears more in earnest on "Part III", immediately from the rumbling dark ambient opening. Compared to what preceded it, there is a bleaker and gloomier feel with the deeper noises and bowed-strings like passages.
The concluding "Part IV" sees the band working with less forceful and oppressive sounds, keeping the low end scaled back. Instead, they focus on playing with slow, heavily filtered melodies scattered atop a slightly dissonant bed of fuzzy noise. While Polidoro is not a newcomer to this type of work, this first released collaboration with Seracini and Tatone is a fully realized debut.

OndaRock, Matteo Meda:
Paesaggi ambient e soffi dub nel puro solco del Loscil più organico e sentimentale, ma con strumenti veri e direttamente dall'Italia. È una splendida sorpresa di fine anno, quella che ci regalano i Triac, ovvero Augusto Tatone, Marco Seracini e Rossano Polidoro, quest'ultimo autentica istituzione sotterranea della sound art made in Italy (il progetto Tu'm su tutti). Il tutto sponsorizzato da nientemeno che quel piccolo paradiso impro chiamato Mikroton, che ha ripreso in mano quest'anno la sua creatura drone - la divisione Laminal - di cui “In A Room” è la seconda uscita in tre anni.

Trasformare la sound art ambientale da forma pura a sostanza lavorata è una missione in cui in parecchi si sono cimentati negli ultimi anni, ma ai Triac va dato il merito di essere sostanzialmente i primi a provarci usando il basso, il piano e il synth per dare colore e vita al soundscape. Una tecnica più impressionista che paesaggista in senso stretto, che anziché elaborare i dettagli all'interno delle forme dettate dal laptop parte da questi ultimi: note, sequenze, armoniche che generano il suono e lo costituiscono, anziché essere generate virtualmente.

In tal senso, la copertina scelta per introdurre questo breve quanto intenso gioiello è emblematica: si torna al Nord, alle distese di neve e ghiaccio che Green Kingdom aveva dipinto quest'anno servendosi dell'acquarello dinamico. Ma i Triac fanno tutto questo preferendo l'osservazione alla contemplazione dell'ultimo Thomas Köner e al tempo stesso riproducendo anziché copiare dal vero. A risultarne sono quattro gemme senza titolo la cui purezza è quantomai terrena, concreta, che guardano dall'interno di una stanza il gelo impossessarsi della Natura esterna.

Il mantra della prima segue il percorso di liquefazione di un loop, a cui un impercettibile sostegno ritmico viene progressivamente a mancare. Il disgelo si estende all'intero paesaggio circostante nella seconda parte, dove qualche timido raggio di sole riesce a farsi largo tra i cori sintetici, prima che la notte cali nel passaggio dark della terza portando con sé un'inquietudine diffusa. Nella conclusione della quarta parte si torna alla glaciazione e allo spegnimento di ogni segno vitale, in un'immersione sotto il manto nevoso che racchiude, paradossalmente, un accenno di calore.

Una cartolina splendida per la stagione invernale, una partenza lanciata per un progetto che convince già a fondo. Molto più di una semplice “promessa”.

Sound Of Music, Joacim Nyberg:
Ambient är underligt. Om man skrapar lite på ytan ter det sig vara en genre med en mycket stark ovilja mot variation, och utvecklingen har, om den överhuvudtaget skett, gått oerhört långsamt. All ambient härstammar i rakt nedstigande led från Brian Enos 70-talsutforskningar och låter väl än idag ungefär likadant.
Så, In a Room är alltså en ”sprillans ny” ambient-skiva men överraskningarna uteblir. De tre italienarna Augusto Tatone, Marco Seacini och Rossano Polidoro i Triac levererar den obligatoriska bordunen, eller dronen, i form av en mjuk, luftig bakgrund och framför den ligger röstliknande ljud, lite harmonier och ett visst mått av brus. Musiken är också i sedvanlig ordning långsam, flytande och harmonisk. Sättningen ska vara elbas, piano/synt och laptop, men både piano och elbas är så upplösta att de inte går att spåra i ljudhavet.
Det underliga är att jag trots förutsägbarhet och avsaknad av äventyrlighet gillar ambient. Det är högst njutbart att lyssna på, jag får alltid en önskan att resa, att se landskap flyga förbi. Eller att bara ligga ner och vara. Löjligt, men är det inte det som är syftet och definitivt styrkan med ambient? Ordet betyder ju omgivande, att omsluta(s) på alla sidor och det är det som musiken gör. Den bäddar in lyssnaren och tillåter denne att träda in i och ut ur musiken var, när och hur denne vill. Detta lyssnande som gränsar mellan aktivt och passivt är befriande. In a Room är en underbart fridfull skiva som får mig att glömma.

ATTN:Magazine:
A room limits space and direction. It’s so obvious that I don’t often consider it, until a record like In A Room demonstrates how to navigate a space with such conscious awareness for the surrounding walls and a sensitivity for the other peoples present. I feel the edges of In A Room in how those nimbus synthesisers curl and stop just before they reach them, while other electronic surges leave slithers of headroom to allow for beams of high frequency to scan across the ceiling. It’s a delicate study of mutual occupation; the soft blunting effect of compassionate compromise, encouraging new sounds into the gaps generated by selfless recession.
I see the sounds on In A Room as various multi-coloured vapours, diffusing across the air of a spotless, gallery-sized room; they linger in the air as loops of phantom orchestra, quivering like candlelight, bleeding gently into neighbouring gases to form slim overlaps of compound shades. The space never grows – the walls are fixed and movement is ultimately minimal – and the energy of album is nurtured in feng shui shifts of balance and absence, rolling the central axis of the room around like a marble upon the palm of a hand. All motion is gentle and self-aware.

Le Son Du Grisli, Pierre Cecile:
Un CD de belle ambient, de temps à autre, ça rafraîchit. D’autant qu’Augusto Tatone (basse électrique), Marco Seracini (claviers) et Rossano Polidoro (laptop) la font de boucles et de synthés auxquels il est bien difficile de résister.
Ça rappelle parfois Christian Fennesz, parfois leur compatriote Giuseppe Ielasi (deux signatures décidément inspirantes, à moins que ce ne soit moi uqi les entende partout...). Stellaire, sonnant comme il faut (parce que travaillé, y’a qu’à entendre In A Room Part I), jouant avec les références légendaires (Bruce Gilbert, Brian Eno & Harold Budd y sont aussi), capables de faire grouiller des bactéries sonores sur trois notes synthétiques. Avant même d’arrêter ma chronique, je signale que Triac sort sur Laminal, label-branche de Mikroton. N’est pas trop de gages de qualité d’un coup?

Just Outside, Brian Olewnick:
Triac being Augusto Tatone (electric bass), Marco Seracini (piano, synth) and Rossano Polidoro (laptop). Soft soundscapes, inescapably Enoesque, but bearing enough grain to maintain interest. The four tracks drift by pleasantly, no complaints really just impossible to single out particulars from the clouds and hard to think of much here that wasn't accomplished on "On Land", for example.

Igloo Magazine, Pietro da Sacco:
More in tune with sublime calming tones and light flickering, Triac—an electronic music trio from Italy formed in the end of 2011 by Rossano Polidoro (ex Tu m’, Line USA), Marco Seracini and Augusto Tatone—formed In A Room within minimal light beams, offering an engaging and harmonious perspective. “Part I” is a 17-minute eclipse transforming nostalgic memories into foggy synapses. There are microscopic streams which ebb and flow, an assemblage of lightly drawn buzzes and fading drones that combine for a subconscious cosmic trajectory. “Part II” moves about in a higher tone, weaving a sonic microcosm buried within cyclic dust particles. “Part III” is barely audible in its opening minute and noticeably dips into lower frequency oscillation where a minimal rumble and tumble spreads like a quietly incoming storm. “Part IIII” simmers as its melodic bubbles take shape and rearrange themselves into quaint rhythmic patterns not unlike a Selected Ambient Works relic—re-polished to capture old audio photos tucked away in a torn shoe box. While In A Room transmits a drone-like pulse, there are distant sparks that segue into and out of focus causing for an emotively charged listening experience.
In A Room is available on Laminal.