Label: Boring Machines
2018年大大大推薦タイトル!! 活動初期は"Jooklo"プロジェクトを軸に活動、Qbicoを始めTroglosound、8mm Recordsなど、この系列のサイケデリック/実験レーベルから多くの音盤を発表、そして4、5年程前からはギタリストとしてのソロ活動にシフトしていったイタリアの音楽家Maurizio Abate。当店にて紹介済みであるMatteo Uggeriと共作した実験アンビエント + フォークミュージック集 [Beyond Time]を好まれる方に絶対オススメしたい、その流れにある真摯な内省ギター音源集。バイオリンやチェロのプレイヤーをゲストに招き、室内楽、牧歌フォーク、アンビエントまでと完全独自の表現が貫かれています。CD版はBoring Machines、LPはBlack Sweat Records、2種フォーマットでのリリース。マスト。
A co-production with Boring Machines (CD Edition) - Insert with a beautiful dreaming and mysterious photo.
With this new work Maurizio Abate recovers the discourse started with Loneliness, Desire and Revenge (2016) but with a different narrative sensitivity. The symbolic air that you breathe suggests a personal and
universal experience in which thoughts and perceptions remain as enveloped in an eternal cosmic wheel. It’s a condition that flows sincerely into an emphatic introspection and identification between the stasis of an inner soul and the flowing vitality of stagnant aquatic landscapes. In this direction the music of Abate always condenses multiple ranges of different emotional spectra evoked by profound naturalistic references. The airy openings of the strings, the distant whispers of the harmonica, cascades of phrasings more calm or more torrential can lead into the magnificent climax of the Nostalgia. The string arrangement for violin and cello by Lucia Gasti introduces in a dimension of idyll, in elegiac passages of touching poetry almost of chamber music but at the same time wet by the pastoral and bucolic moods of autumn landscapes; they are paintings imbued with different flavors and colours that recall the light and the candor of the Venetian tonalisms or the moving paintings full of meaning of Tarkoski. In the darkest and saddest moments the open chords are like suspensions of unresolved questions and torments, but the cathartic finale with a free and minimalist piano prelude to possible future glares, almost to perceiving that even where there’s stasis the sun can still shine the hope for the new on the clearing of the pond. Remains the feeling with that stylistic "freedom of expression" dear to the visionaries Fahey and Basho; but also a clear interpretation of the expressive possibility of the lead guitar, absolutely lyrical and contemporary for refinement of the crystalline sound, which places this work in parallel with the basic acoustic tests of others great like Jim O'Rourke, Jack Rose or James Blackshaw.