Chris Ianuzzi Goes Deep on Recently Released EP Olga in a Black Hole
Were Chris Ianuzzi’s latest release, the three-cut EP Olga in a Black Hole, art (which it unambiguously is)—but not a musical expression of art but your more “traditional” visual artwork, it would be that fantastically super modern impressionist variety in which colors, textures, shapes and all seem to be haphazardously tossed at random upon some poor, unsuspecting canvas.
Imagine that same concept, that same seemingly reckless, riotous abandonment of pure creativity gloriously unfettered through any type of formal structural lens for an aural palette, of sorts. Sounds strewn about the recording studio perhaps—snatches and snippets of computers, synths, sound bites—converted into a symphony moving in different directions at different times, and you’ll be somewhat prepared for Olga.
Then throw the EP on, and prepare to be blown away all over again.
The motif for the work seems to be multifaceted, which is perhaps a refreshing change of pace for sound recordings. On the one hand, it’s deliberately electronic, but to the point in which it sounds processed (as in a word processor), the language of computational hardware seemingly liberating itself in a self assertion of what depends on the particular track you’re under the influence of.
Take “Olga in a Black Hole” for instance, which sounds exactly like the audio for the first Star Wars game that populated video arcades across the country in the late 80’s. You can’t tell me you can’t hear the winds of space on this tune: the empty, echoing vacuums of distant sounds nearing before veering off to cover the next super nova. The track is largely bereft of rhythm (although there are random bits of percussion) and slowly seeps in different directions at once with a pitched, scary feeling that characterizes some of the most compelling musical compositions.
It would be difficult for anyone to listen to “Hello” for a prolonged period of time—especially its introduction—and not hear R2-D2 and C-3PO communicating in one of the latter’s millions of languages foreign to human ears. The tune’s guided by the classic dancehall rhythm which seems composed of bass punches instead of kicks. Granted, the bass pounds, and it’s not difficult to picture Ianuzzi getting club play for it.
The point, it appears, is that none of these numbers are easily accessible, all challenge the listener and the notion that there are boundaries in music—which must be propelling this very art form forward, in some way or another. Can’t wait to see what’s on his forthcoming full length release, Planetaria.