I reviewed Marco Oppedisano's challengingly intriguing recentest music previously, both solo (here) and in league with David Lee Myers (here), so it's fitting we should glance back through Electroacoustic Compositions for Electric Guitar, an anthology of his opuses ranging from 1999 to 2005, when the gent was experimenting in many dimensions and, it becomes apparent after hearing his later output, reaching for what would become a much denser, more elaborate, and even revolutionary mode of sonic architecture. When reviewing said product, Mechanical Uprising, I noted the affinities with the Nonesuch label's pioneering underwriting of neoclassical electronicists, and Electroacoustic is a sharp vindication of that observance, a marvelously engrossing trip to yesteryear.
In fact, hard-core aficionados are going to find in some of Oppedisano's explorations broad washes of what Kraftwerk, Cluster, and the more whacked-out krautischers hit upon way back when after studying Stockhausen, Cage, and others (listen to Time Lapse especially). I count myself among such enamoreds, and sat delirious as the cut poured out of my speakers—no one does this any more! However, when the cut slides into an itchily melodic phase, one also hears the evolution of intent up into Roedelius, SFF, and sundry other atmospheres blended with light noiseuring. Karmicon, on the other hand, is much more in the way of a Frippian exercise in sheets of cascading borealis effects, the famed Frippertronics of soundscaping, suddenly resolving into a very three-dimensional stark entablature of a mechanistic future street scene in a metropolis Ridley Scott might have envisioned after listening to Raymond Scott.
The thing to keep in mind is that all this was generated by guitars and then discombobulated and re-defined by processing even though it sounds like there are synths, acoustic instruments, buzzing refrigerators, spaceships, video games, even demented waterfowl and flounders every so often. Should one wish a slower approach to his later work, Electroacoustic couldn't be more perfect, the divine intersection between delineated outside progressive music and Oppedisano's densely neoclassical futuristic melees. And I have to say that I think this mode is what a good percentage of the extremer free jazzers, noise crowd, and cats like Branca and Merzbow would be doing if they could, if they had the chops, and if they possessed the mental machinery and vision. Appy-polly-logies to all those other droogies, but it's true. Now ya know.
Edited by: David N. Pyles
Copyright 2011, Peterborough Folk Music Society.
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