Edition of 100. "Piano Gaucho carefully develops Bob Bellerues tonal infatuation with rendering the piano into a demonic ingress. The piano functions as an essential frame for amps, speakers, mics, pickups, pedals, laptop, and guts to negotiate and re-evaluate the fated instrument into a much more heinous sonic source.Bellerues experiments with the instrument mark time slowly against a rotating core of oscillating feedback -¢‚Ǩ‚Äù a cold, gradual pace that proceeds solemnly. Fascinated with the suspended tension of the piano strings, the pieces deliberate pace casts long, shadowy passages of sound -¢‚Ǩ‚Äù forgoing any rhythmic brutalism in favor of an anxiety that evolves within long intervals of empty space. The exorcised tones breed within these open expanses. Recalling the grim work of bass experimentalists such asStephen OMalley or blackened Scandinavian film scores -¢‚Ǩ‚Äù and all the images contained therein -¢‚Ǩ‚Äù Bellerue roots the instrumental role of the piano firmly within this space. A wicked piano music is revealed; his commitment to instruments sinister potential is total." - Nick Scavo.