Mechanical Uprising by Marco Oppedisano, OKS Recordings of North America, 2010

Mechanical Uprising by Marco Oppedisano, OKS Recordings of North America, 2010
Mechanical Uprising . Almost a futuristic title for the third soloist cd by Marco Oppedisano on OKSRNA. As for the other two albums we have reviewed on this blog, Marco introduces some compositions that comes from his desire to play and to bring to the most extreme limits the possibilities offered by an instrument as the electric guitar combined with the usage of sound sampler and of sounds manipulations and sampled bit, but the similarities with the precedents records end here.

This record explores on various possible levels the relationship among the artist and the machines that he uses for making his music, an environment tightly checked where the guitar with its structurate improvisations plays a role of breakup and expansion. The durations of the musics here keep on being revealed on superior lengths to the 5 minutes with the exceptions of the very beautiful Seven Pieces all inferior ones to the 2 minutes.
The first feeling listening to it is that this time Oppedisano has wanted to condense in his music a whole series of quotations from the hard rock scene (Black Sabbath a gogo), hip hop (rhythmic samplings worthy by RUN DMC), concrete music, videogames and western avangarde music, compressing them, centrifuging themr with such a pressure, speed and intensity to produced a sonorous quantum characterized by a myriad of sounds among them tightly interconnected and stratified superior to whatever extremist post modern counterpoint, with his/ guitar that expands itself as a black summer storm. All wrapped in a kinematic sauce.
If we speak about virtuosity it is as to feel Joe Satriani playing against an Apple powerbook, hopelessly looking for to cover all sonorous holes left by the implacable machine, succeeding in overcoming it for sense of the humour and drama, the crowd of techniques employed in this cd doesn’t hide an insufficiency of ideas, instead it symbolizes a genuine love for the guitar as a source of guilty pleasures. Thick as a brick.

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