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(Clicka qua per la versione Italiana)
Iowa-based electronic musician Jeff Witscher was active under multiple
monikers and in multiple groups.
Marble Sky was documented on the cassettes
The Sad Return (2007) and Low God / Lady (2008).
Secret Abuse released Violent Narcissus (2008) and The Immeasurable Gift (2009).
He even played with punks Deep Jew of Ugliest Man/ Dog Blood (2008).
Witscher eventually transformed into avantgarde composer Rene Hell to
pen magic synthscapes inspired by industrial, ambient, cosmic and minimalist
music
on the instrumental albums Porcelain Opera (Type, 2010) and
The Terminal Symphony (Type, 2011).
The latter contains ten futuristic vignettes, starting with the most promising,
Chamber Forte (destructive panting dissonance, droning choir, morbid pulsation, soaring organ chord), and then examining different styles and concepts:
the surrealistic Cello Suite No 3 (which has no cello and only lasts two minutes),
and
the exuberant robotic synth ballet of Baroque Ensemble Coda;
certainly an eclectic parade, that culminates with the touching
Adagio For String Portrait.
Terry Riley's minimalist repetition is
responsible for Juliard Op. 66 and especially for
the piano fanfare of E.S. Des Grauens In Fifths wrapped in symphonic Vangelis-ian overtones.
There is, however, very little development within each piece, with virtually
the only exception of
the tinkling metallic chaos of Lighthouse Marvel that
leads to a frenzied harpsichord sonata. WItscher is no Mozart, for sure.
Compared with
Brian Eno's classic, and standard reference point,
Before and After Science, this is much less austere. It compares
more easily with the naive impressionism of
the Tonto's Expanding Head Band.
Witscher also recorded with Daren Ho as Mandlebrot & Skyy, Trash Dog and Cuticle.
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