It seems that we have found an ideal games companion for Paolo Angeli.
“Aria Meccanica” begins with an announcement, of those that we are usual to distractedly listen to in airports and stations, and that instead whether to point out the arrival or the departure of a convoy or an airplane speaks about “talking trees” and strange “dragonflies.” Then start the acoustic guitar, beautiful, calm, from the warm and ample reverberation and I don’t understand the connection between her ballad and the introduction like “The Florida Airport Tape”, but the things get clean going on. This is a record for meditated experimentation, progressively Altamura’s acoustic guitar modified, transformed, mixed with electronic loop, voices, percussions, helixes noises, bows passed on the metal ropes and resonant drones.
Perhaps “Aria Meccanica” is a concept album, idea at the base of so many successful rock and prog records published in the ’70’s , the record as a trip, the music as narration. In “Aria Meccanica” often there is no border line among the passages that simply suffer a metamorphosis to become something else, a geniuses assembly, of musical Dna that brings to a new song. A mechanism that makes air’s molecules resound so that they can opportunely “tickle and massage” the membrane of the eardrum of our ear bringing us new music.
If I don’t remember badly Derek Bailey wrote in his essay about improvisation that the musicians divide themselves in two categories: those that play with and those that play against their instrument.
The first ones become virtuosos and great performers, the seconds constantly look for new ways to play their instrument, at the cost to abuse and to violate it they look for new solutions, new techniques or more simply new sounds. Sergio Altamura very probably belongs to this second category and “Aria Meccanica” is simply an example of his poetic vision.