“..slowly evolving compositions and sound meditations based around the palette of modern grime music minus the percussion. In the songs “Arbor Arco” and “He Loved Him Madly” the grime theme is most present, with droplets of synth and bass rising and melting to suggest invisible kick drums underneath. “Rendered” and “In A Silent Way” begin with simple arpeggios that build to intense climaxes, while closing track “Aa-m” is an almost ASMR-inducing meditation.”
“Ad Hocc” was intended to be listened to on 6 speaker systems (6 stereo pairs = 12 speakers) simultaneously. Unfortunately, that experience is saved for those who bought the original USB card. I was not planning on releasing a “digital” (online) version of “Ad Hocc”, but, as it is my favorite D/P/I release, I am offering this un-expanded edition, set up to play on only 2 speaker systems (2 stereo pairs = 4 speakers). I hope you enjoy nonetheless.” – D/P/I
“Indeed, the intended flexible listening experience of Ad Hocc does emphasize the goal of D/P/I’s axiomatic language being a rearrangeable, modular faculty. Like his visual style — images loosely associated on a white background — the record’s reprogrammability opens up the listening experience as being inherently non-oppressive. Although there is binary division occurring between the “fundamental” and “supplementary” subsets, their rearrangement diminishes any experience being a “quintessential” one; rather, all are opportunities. Ad Hocc becomes a total meditation on D/P/I’s use of material, a consideration of how they interact, a study of their inherently structural design, and ultimately, a defense of their accelerated, gorgeously spontaneous performance.” – Tiny Mix Tapes
“His studio compositions, documented on few records, often explore themes of the internal – represented both by the psychological and the physical – and of the occult, which with the use of spoken text makes them often deeply existential works, self-investigations of the psychological, emotional and irrational horror within.
The new record, ‘Clonic Earth’ is a perturbing, compelling and eventually mind-expanding work, marked by compositional strategies of exploded narratives, psychological insight and oracular literary references, where questions about the boundaries of spatial perception in the decoding processes of acousmatic music are overturned into existential, metaphysical questions.
Tricoli’s allegorical and philosophical universe takes the form of an unhinged mind’s landscape swarming with estranged sound objects, and sometimes reminiscent, in the complexity of details and surrealistic effects, of Hieronymus Bosch’s larger paintings. Compared to his previous works, the content of ‘Clonic Earth’ explores more synthesized and heavily processed sounds, especially vocals, often appearing in the form of a religious, electrified chanting.
The record is described by its author as a natural consequence of the internal collapse depicted in his previous record, ‘Miseri Lares’: “As if all the debris left inside my loudspeakers have been ignited to expand into the ether, to find a justification at the principle of Chaos, or Cosmos alike.” ”