ROBERTO CACCIAPAGLIA

A lot of long-form electronic compositions can be described as having a symphonic quality, but that usually refers to the dynamics in the way that each electronic element is used to create a loud/soft or empty/full effects. Roberto Cacciapaglia's Sonanze, however, is symphonic in a very literal sense.

In addition to the experimental electronic manipulations as per the usual standard set by fellow Italians in this era, also included on this album are horns, piano, strings, choral vocals, among other orchestral instruments that create an unmistakable organic atmosphere. The way these acoustic orchestral instruments are used is very similar to the usual contemporary classical sounds (either super melodic or comparatively dissonant), which is too say not all too interesting or groundbreaking, but it does at an increased dreaminess to the music that would otherwise be absent.

The overall tempi of Sonanze is very laid back, never really progressing past a relatively quiet mid-tempo pace. As strong as the symphonic quality is in the instrumentation, the music never escalates to Mahler- or Beethoven-esque power and instead opts entirely for a French impressionism type of subdued dreaminess.

As for the electronics that make up the other half of the album's overall dynamic, it works well by integrating seamlessly into the orchestral moments, accentuating what the other instruments are playing. In moments of jarring dissonant string melodies, the electronic portion is mainly a despondent drone; in moments of organic cheer, the electronic portion is uplifting like the sun's rays.

Anyone interested in contemporary classical music could probably enjoy this if not expecting anything truly groundbreaking, but could very well be a soothing listening experience for anyone.

After the mind blowing and epically majestic first album Sonanze, the prolific and eclectic Roberto Cacciapalia explored diverse musical aesthetics. Before to define his music in more mainstream pop territories in later albums he had a short excursion into classical-minimalist music. Sei Nota in Logica is the result of this transition. As usual it's perfectly achieved with a real sense of harmony and composition. However in term of ideas and musical creation this is not really challenging. Sei Nota in Logica only re-visit recognizable intricate sound patterns released by U.S minimalist researches (I'm notably thinking about the most asceptic parts of Steve Reich's minimal structuralism). The gamelan, the sax and the piano's intertextual moves progress into a peaceful-dreamy envinonement interrupted by suspensfully electronic scintillations. The atmosphere is intimate, percussive and full of short rythmical modules but not quite dense. Sei Nota in Logica is gently calm and decorative without growing into absorbing-lysergic droning waves. Highly recommended for fans of minimalist-arpeggiated musical impressionism (early Philip Glass, Reich and Gibson).

Lesser known from the audience, Roberto Cacciapaglia is recognised for his high-quality and eclectic instrumental epic albums. His personal musical universe is quite varied, it incorporates classical symphonic music, sonic looped dronescapes, majestic spacey synth grooves and concrete avant gardism. Sonanze is an impressive and fascinating album, melodic, entrancing and experimental at the same time. This fantastic debut album admits comparisons with Franco Battiato's most challenging efforts and with Franco Leprino's exceptional orchestrated electronic suites. The two first movements introduce the listener in a charming-tumultuous symphonic dreaminess based on collage sounds, synth frequences and heroic langurous parts for strings and brass. Some buzzing-trancey manipulated voices are added to the mix, providing catchy hallucinatory effects. The third movement is a playful classical piano piece floating-like calm waves. The fourth movement is a dark-ritual voices incantation made in a modern operatic-theatrical style. The three following movements provide gorgeous, long form dreamy soundscapes for cloudy synth textures and harmonious static drones. The atmosphere is deliciously meditative and introspective without being easy listening and unconsistently new agey. The two last movements are strange cinematic musical scenes using massive atonal orchestrations and otherwordly layering synth sounds . This album is impressively complex, technically achieved but without being boring or cryptical for neophyts: The atmospheres are completely suggestive and magically haunted with the inclusion of dense, colourful melodic lines. A magnificent album and a must have for fans of vintage Italian prog, classical contemporary music and kosmische electronica.