Marco Oppedisano (born November 20, 1971 in Brooklyn, New York) is an American guitarist and composer whose compositions focus on creative and innovative use of electric guitar,creating a form of electro-acoustic music, based on the use of multitrack recording techniques and running for extended electric guitar and bass, combined with concrete music, live electronics, sampled sounds and the female voice of KimberlyFiedelman.
“Electroacoustic Compositions for Electric Guitar” is an excellent introduction to the compositions and style of Oppedisano that in some cases reminiscent of Robert Fripp playing a frippertronics jam with Velvet Underground. These compositions dating from 1999 and 2005, with the exception of the items sampled, all sounds are derived from the electric instrument with Oppedisano demonstrating the ability to extend the notion that the guitar is a small orchestra, creating a range of very ample of sounds, from bells to swarming clouds of electronic chirps.
The music, however, is neither boring nor focused in itself, Oppedisano demonstrates a good sense of humor as in songs like “The End Is Near” where guitar riffs are combined with shots of laser beams and robotic sounds, or as in the four pieces of “Scenes from Dante’s Inferno” that does not displease the fans of Brian Eno and Alan Licht, with their moved and choral sounds.
I have the feeling that Oppedisano has used the opportunities offered by the recording studio in a manner not very different from that of bands like Can or Brian Eno. This allowed him to create extremely elaborate and complex compositions (do not be fooled by the metal styled guitar riffs), to investigate a particular atmosphere, to work on more precise formulations of what might first appear incomplete and in general to establish a new sense of coherence without losing his concept of spontaneity, in search of explicit forms rather than floating structures.
The result is a series of songs carefully “layered” taking place with a linear development by capturing a mood, an impulse or a single idea in musical “scenes” from the variable length such as in “Three short electronic pieces” of 2003.
For Oppedisano, the guitar is more than just an instrument, is a catalyst of expression, which allows greater clarity, resolution and richness than any other instrument and the compositions are living proof of that relationship. At times, his guitars seem to be playing him, rather than the other, such as the expressive, “Time Lapse”.
Overall, “Electroacoustic Compositions for Electric Guitar” is great album, and “flows” from one composition to another very well. Perhaps the only flaw is a small sense of detachment from one track to another of a different result when the compositions were made but it is not a problem, the disc is not intended as a concept album.
You Can buy this record on CD Babe: http://www.cdbaby.com/cd/oppedisano