A pebble codex. Vitrine is honored to present antidocument/groundwork, the first album of new work by Massimo Toniutti since 1991’s Il Museo Selvatico. Toniutti has been crafting a theatre of geometry and meiosis since the early ’80s with his self-released cassettes bridging concrete sound, Industrial shadow play and stately dispersal. A rustle, something falls. Out of bounds electronics complicate sound cabinets of ringing bells and creaking joints. The furniture is cleared from the room. Echo precedes incident. antidocument/groundwork finds spiritual kinship with Toniutti’s past work, but exists as its own monument to tape and place. Charge and field in secular transitions of magnetic layering. Plateaus of mysterious sound reveal latent sense in a latticed order. Rising and falling along latitudes of significance. Tapping, fade and swelter into sequence’s far climes. Suddenly, a string is plucked and tape reacts in space. While comparisons can be made to artists such as Andrew Chalk or G*Park, Massimo Toniutti creates his own context. This is the assured, mature work of a master. There is no further explanation necessary than the sound itself. antidocument/groundwork follows through on the promise of Toniutti’s past works and surpasses them in nuance and minute scale. A rustle and swift mic interference – a wind up moratorium. It’s all on negotiable instruments. It’s all up in the air and committed to tape. When the tape stops, flip it over and play again.