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| Michael Draine's Twisted
Vista |
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| Cudu |
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| Waterplay |
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| (Materiali Sonori) |
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| For their third album, this
Italian |
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| progressive group has
streamlined down to |
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| a core duo of guitarist
Paolo Lotti and |
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| bassist/synthesist Lucca
Mazzatini, with |
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| guest appearances by Embryo |
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| multi-instrumentalist
Christian Burchard, |
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| brass player Luc Van Lieshout,
and |
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| reedman/keyboardist Steven Brown
of |
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| Tuxedomoon. Lotti has
assimilated a wide |
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| range of Robert
Fripp’s electric guitar |
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| techniques and deployed them in
the |
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| service of highly
original, intoxicating |
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| music written and performed in |
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Music Review Index |
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| collaboration with these
formidable |
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| accompanists. |
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| Lotti’s sonic palette
encompasses a |
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| violin-like glissando,
splashy, metallic |
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Twisted Cinema |
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| tone clusters, and shimmering
curtains |
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| of abstract sound, all
achieved without |
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| the aid of a guitar synthesizer. |
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| Waterplay abounds with unexpected musical |
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| juxtapositions, with Lotti’s
legato |
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| guitar winding through Burchard’s |
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| lattices of exotic
percussion, playing |
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| against Brown’s smoky
nightclub sax or |
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| Van Lieshout’s classical brass.
The |
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| album exudes a tropical,
hallucinatory |
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| atmosphere, with rippling,
heavily |
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| processed guitar blending into
the |
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| sounds of seagulls
and night creatures. |
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| On the lush, languorous “Sonata
Per |
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| Gabbianco” and “Debussy Sur La
Mer |
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| Avec Arpege,” Cudu stretch out in |
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| the hypnotic, cyclical mode of |
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| Fripp and Eno’s No Pussyfooting, |
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| but the group’s flair for
assertive |
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| rhythmic configurations set
them apart |
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| from the obvious antecedent.
Oblique, |
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| intricate, and slightly
challenging, |
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| Waterplay will delight listeners |
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| tired of the gutless Enoisms of a |
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| generation of new age
synthesists. |
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| published in Boston Rock #132, June 1993 |
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| http://www.materialisonori.it/ |
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