Le Stanze is Ingar Zach’s fifth solo album. His previous works have explored the potentials of percussion and electronic sources for the basis of his compositions, and Le Stanze sees him continue to expand in this field. ‘Groundbreaking’ is a word which is used in reference to many artists, often somewhat spuriously: in Zach’s case, it’s entirely apposite. While many of the sounds are overtly percussive in origin, it’s where Zach takes the sounds which renders Le Stanze such a fascinating album.
A flurry of sticks against skin is followed by silence. The silence is as important as the sound: Zach understands contrast and dynamics. He also understands range: single thuds at an infinite range of timbres contrast with chimes and jangles, scrapes and long-decaying echoes. A mesmeric heartbeat-paced thud underpins a sustained clamour of tinkling chimes like an alarm bell. Long, low notes loom beneath, almost subsonic, almost subliminal.
On ‘Il Battito Del Vichingo’, a battery of tribal percussion builds to a polyrhythmic frenzy. It contrasts with the drifting ambience of ‘L’inno Dell’ Oscurita’ and again with the shifting, sharp-edged metallic ibrationss of ‘E Soplitudine’, which slowly builds a long, sonorous drilling hum. In places, it’s almost unbearable in its tonal intensity, frequencies which assault the aural receptors and scrape at the soft matter within the cranial cavity.
Not only is it an intriguing listen, but on Le Stanze, Zach brings a magic, a mystery, to the act of making music, the process.