REVIEW Various Artists ‘YEAR 000.000.001’ [Borders Of Light]

To color in his final release of the sounds let loose this year, the amorous Toto Chiavetta compiles a ten-track vinyl exclusive, and just in time for the travel season. Whether rehearsed on the label or not, fellow tour guides compose a compilation that showcases a resembling sound quality to that of Toto Chiavetta’s repertoire. The Sicilian Toto has exhibited a concrete year – from building ‘Metrica’ and characterizing the ‘Ederlezi’ persona, the label ‘Borders of Light’ has progressively brightened over the months. The compilation features already released tracks including ‘Ederlezi’ and ‘Taht Min Aini Remixes’ with additions from the Echonomist, Unnayanaa ft. Visalakshi, Eri, Pergola, John Falke, and Siza.

I. Toto Chiavetta ‘Thank You In All Languages’

Toto Chiavetta commences the compilation — voicing pre-teen echos — he gathers artists from around the world appropriately crediting a ‘thank you in all languages’. The track would epically suit an opening movie score, a set’s closing track, or vice versa. Slowly, the acoustic strum creeps up and stamps a passport full of hospitality. Finally, the clicks rattle to the soundscape of a dry and deserty crackle.

II. Echonomist Overseas’

Winded splat sounds stomp on the high note keys, their stokes bedazzle a starry night and encompass The Economist’s deutinctual sound; that of which, has become more intuitively familiar. Lovely to start any ‘adventure’ the first stop would vibe with the light-heartiness of the track – opportunistic and bewildered with wonderment. As the evening rhythm sets in, twinkly chords intersect between radar-beeps and beckon a covenant soul clap.

III. Unnayanaa ft. Visalakshi ‘Eru Maliye (Toto Chiavetta ‘Vinyl Edition’ Remix)’

Indian bound – Prashanth Pallemon – better known under the alias, Unnayanaa, retails Visalakshi’s sensual vocals along with Toto’s ever-ending state of writing contractions. Toto Chiavetta’s pecking burp of a baseline stabilizes itself into town of mediators and irritators. Once the remix’s bassline swoops in, the sound of black hole cannibalizing itself permeates throughout; and alas, false intentions are purged from the city’s agitators and imitators. Gonging a golden recollection, the tempo again returns to ubiquitousness, swarming of foreign yet familiar masks.

IV. Eri ‘Lapsed Technology’

(Hard-drive)ing Eri knocks an abrasively biting bassline and reverberates clanking pings from left ear to right. Deep down technology’s burn cycle, the experience of the freight synth mirrors the course of a diminishing lifespan. A couple minutes in, the progression drops and the elements relay back and forth, creating a somewhat vexing and verbosely hypnotic effect.` Finally, time- stamping the routine, the bassline drops into platonic and cyclonic monotony. The track remains consistent in the final moments, that of which would compliment a peak night’s hectic toxicities.

V. Irfan Rainy & Unnayanaa ft. Ibitisam ‘Taht Min Aini (Toto Chiavetta Remix)’

Toto’s remix stomps around dusk to liberate (an otherwise) heavy night’s retribution and attribution and he mallets his signature baseline with digital spoken words to transition a ride down the age of anxiety. Braided black guitar strands signal high-pitched chatters to arouse the melody’s sensuality. The luminous violin retraces the static arrangement and organizes the dispersed pieces before the frantic break is finally digested. Thus, the pattering baseline accelerates down again into a fooled confusion, as if the pale train is unable to pick the right track ahead. Before the gears shift upward towards a crash, the violin returns with claps – thereby reviving an unforeseen option. Battered with squirming synths, the mellifluous vocals delve down a torched course. The tension picks up speed again into a freight until amateur pieces, broken from deception, are glued back together. The vocals return to spoken word and the liminal spaces in-between stops remain perplexed.

VI. Unknown Artist ‘Ederlezi (Toto Chiavetta ft. Sead Ajaz Ensemble Edition)’

One of the most common versions of ‘Ederlezi’ originates in the movie ‘Time of the Gypsies’ – a Yugoslavian drama coming-of-age film. The increased speed offers a freshly zested flavor to the original’s incredibly slow tempo. Yet, ‘Ederlezi’ is not as fast paced as Pional’s ‘Time of the Gs’, nor as synthetically distorted. Toto’s version of ‘Ederlezi’ upholds another refreshing take and roots itself more towards to the original’s theatric turmoil. Although ‘Ederlezi’ was released in September 2019 this is an appropriate track to compliment the vinyl’s continental toe tap.

VII. Siza ‘Positivismo’

The disguised Siza may be under the radar, however, ‘Positivismo’ is by no means as incognito as they. Inputting the familiar sensory source, the motor output realizes an oh-so familiar Dixon orgasm. Still polite, the doomsday anthem sculpts neurotic neurons to into ship-shape. Tolling onto the impudent route, this progression traces the outline of an alien invasion, perhaps a little too close to home. This crowd pleaser is a palatable option both an amateur and professional, that of which, if their immediate potential is foolproof.

VIII. John Falke Villam’

Prevailing under proper conditions, the storm of the compilation is unpredictability hectic, yet John Falke’s ‘Villam’ would reap a reaction. The elements meet their extremities that must undergo an intensely aggressive head bob. The chaotic vines of the track grows and twists in a cacophonous pattern.

IX. Pergola ft. Lygdamo ‘Rockin’ In The Free World’

The Italian, Francesco Pergola, adds a retro touch with a tasteful drop from the serene Lygdamo. The track is derived from the sarcastic (and self-explanatory) original jam ‘Rockin’ In The Free World’; paired with guitar from Neil Young, Bon Jovi, Pearl Jam released three decades prior. The track relays an Indie Dance groove to slice and dice emotive triggers and entice a disco coalesce with Jennifer Cardini’s correspondence. In the end, the underlying snare is rejuvenated with cosmic laughs and claps of relinquished triumph.

X. Olaf Stuut ft. Marlon Penn ‘Run (Toto Chiavetta Edit)’

As one of the most memorable moments of the compilation, Olaf Stuut wraps a warm soundscape to begin the day and close the night – pervasive and surrounded by light. The storyteller, Olaf Stuut rolls waves to accompany the deadline of the retreat. Finishing on a high note of celestial chimes, there is a signal concluding a night of content.

In hindsight Toto runs clicks around an upbeat and exonerated darkness, but is filled with telluric beauty. Paying homage to the (likely unplanned) coastal connection between the featured artists on the compilation embodies a secular vibration. Once connecred, the artists’ home bases roughly form a circle around the Atlantic Ocean. The compilation’s emphasis on rhythmical stresses shape a fundamental corner along ‘Borders on Light’s edges.

YEAR 000.000.001’ was released on Borders Of Light on December 6th, 2019.

Review by Isabella Gadinis