"Logoplasm works with field recordings and electronics and make highly personal music. The shimmering of voices, the careful drone of an organ or the simple plucking of a stringed instrument: this is a great mixture of instruments and field recordings.
There are links to the music of Ora and Mirror, certainly towards the end when big time drones and rain covered field recordings emerge, but especially in the first half Logoplasm show a much more personal approach. Their vaults should be opened more!"
Vital Weekly [more]
"...Paolo e Laura fanno parte di quella categoria speciale, e rara, che non ha il sangue nelle vene, e non ha la linfa nei vasi linfatici, e non ha il midollo nelle ossa.... no, nelle loro vene scorre musica... e musica... e musica.... Laura e Paolo, al pari dell'Elias di Schneider, sentono quello che gli altri non riescono a sentire e lo trasformano magicamente in musica straordinaria."
Sound and Silence [more]
"The advice of listening to this album on the highest possible volume is well spent, as it wants to be enjoyed as a supernatural experience, not a classical composition, nor as an intellectual or conceptual work. As such, "Testa piena d'orche" would make for a great album to test 5.1. surround systems with. You really feel like pouring yourself a glass of cool rose wine in the warm middle section and as the lightning strikes in the grand finale, you crouch in your sofa to protect yourself from these violent forces of nature. The greatest achievment, however, is that the band has managed to build a half-hour long work which never looses its ease. If you listen closely, you will hear the ambition, just as much as the voice of the dreamer. You can clap your hands now."
"There's a Lethean quality of forgetfulness and intense introspection that emanates from the breezy sounds that these two Italians created that makes you imagine it coming from some languid, dream-state where such petty things as material releases become little more than inconsequential ephemera... The analogy of dreams is a good one for this recording. Like the shifting vistas and experiences of the most profound dreams, found-sound recordings and instrumentation meld in a strange, yet wholly coherent way. Bodiless voices seem almost familiar and common sounds – rain, wind, animals – take on the eerie, displaced sheen of the dream-lands (even the band's press release for this CD is scattered and self-reflexive, requiring arrows and footnotes to explain) and, like a dream, this record follows you even after it's finished. Thin, mist-like threads twirl around your head, laughter and barking dogs echo in your ears. So, Logoplasm are a strange project and "Testa piena d'orche" is a strange record. Disjointed and meandering it sounds weak on paper but oh-so perfect in actuality. Maybe, like the best dreams, this can only make sense to the dreamer."
Heathen Harvest [more]
"Testa piena d'orche" mix of eerier drone matter, bell tones, layered foreign voices/ chants and all manner of source recordings rather brought to mind the more recent Nurse With Wound material. The track is one long 35 minute piece that starts off being barely there developing drone patterns, to disorientating and mind altering collages of voices sounds and bells, with the sounds very effectively moved around the stereo channels to give a very strange and surreal 3D like audioscape that you can't help but to get sucked into... A fine example of accomplished and surreal long form sound painting that becomes more and involving and curious as the track opens up and develops, and grows strange images and sensation in ones mind"
Musique Machine [more]
"Logoplasm's music blends electronic drones and concrete sounds – including location recordings of conversations or rain, for instance. Their sounds are always extremely well chosen and have an unmissable triumphant, mystic quality, while succeeding in reacquainting us with forgotten memories or natural mysteries. Their art lies partly in a semi-surreal approach to sound organisation a la Alejandra & Aeron, partly in a needle-like precision in selecting and editing sound material – think french composer Michèle Bokanowski, for instance... "Testa piena d'orche" has strong transforming effects on the listener, bringing forgotten memories from childhood. This is mercilessly beautiful, goosebump inducing music which leaves you speechless and with tears in your eyes."
"...A metà tra stato di paranoia e rievocazione cognitiva, ad un passo dal collasso nervoso e a braccetto con la catarsi, l'estetica di "Testa piena d'orche" è quella di una musica sinestetica che disegna la figura umana dall'interno di essa, riscrive cognizione e percezione a partire dai tasselli mnemonici: ed ecco voci che scompaiono e fondono nel mix di frequenze ossessive e metalliche, movimenti ancestrali, l'uomo nel mezzo di agenti atmosferici e corporei, un suono cristallino perfino nelle violente incursioni noise. I campioni usati, i field recordings sono parte di te: lo sono i dialoghi tra amici, lo è un temporale, lo è la ricerca, la confusione, lo è il tuo respiro. Di nuovo i Logoplasm riescono a mettere in musica l'idea di uomo. Fatevi del bene, ascoltateli."
"Un ossimoro Lynchiano, come i suoi movimenti di macchina rallentati e alienanti che si bloccano incessantemente sul dettaglio apparentemente più inutile della scena: la quotidianità gioiosa di una voce femminile può essere pure lacerante... Traspare una poesia non comune, come se quegli istanti non assomigliassero a nient'altro. Il racconto è filtrato dalle emozioni e dai corpi, rivestendo i loop di odori e proiezioni mentali in un'estetica fatta di variazioni luminose e puro Romanticismo d'ambiente."
"..."Testa piena d'orche" is divided into two distinct major cycles, evoking spaces both indoor and outdoor, with sounds both familiar and unsettling. The composition fades into being over the first several minutes with a vaguely wobbling tone that remains throughout much of its initial half. As this first cycle progresses, an ephemeral chorus builds and tapping chimes mimic a broken melodic cadence. After ten minutes, laughing and enthusiastic conversation dominates, but a few minutes later these voices undergo increasing flashes of distortion as the chimes drop out. A sort of empty space ensues. The original tonal backdrop is replaced as the second cycle commences, wherein faint, garbled radio mutterings emerge, along with plucked strings and muffled sounds like wind across a microphone. Twenty minutes into the piece, a shimmering treble rises over splashing water and, in time, the play of distant thunderstorms. Although the composition by this point has become (and remains) loud, the treble drone shifts by degrees, losing its piercing quality, while movement persists in under layers of crackling and white noise. From this point forward things are fairly stable, aside from interjections of shrill wind and a spate of closer rainstorms near the end. This stuff might be what the world actually sounds like, if one takes the time to listen, and listen closely..."
Connexion Bizarre [more]