The shadows of Loren Connors and Sergio Sorrentino on #neuguitars #blog #LorenConnors #SergioSorrentino
I believe that the key to interpreting this cd is all in the cover photo, made by Sergio Sorrentino himself. Not only it represent the shadow, I think projected on a wall, of a headstock of a Fender Stratocaster, a guitar loved and used by both musicians, but it is a clear clue as to what to expect when listening to the CD. Shadows are a fascinating thing, metaphors that hide something while delineating it in the sunlight, opaque representations that leave room for doubts and confusion, but at the same time stimulate our skills of interpretation and reading. Not only that, the album was recorded thanks to a Chinese shadow play. Unable to meet directly during the Covid-19 lockdown, the two musicians decided to meet online through the veil of the Zoom platform and interact with each other. A shadow, a technological filter to play at an oceanic distance, to create a result where it is practically impossible to understand who is playing what. Shadows, as we know, generate depth, allow sounds a three-dimensional effect, at the same time they hide, veil and generate images that hide meaning. They give drama and character.
But shadows are mobile and also create strange games, which deceive the mind and distract it from ordinary paths. From this point of view, the guitar has long since embarked on a path that has led it to develop evolutionary forms parallel to those undertaken in the world of rock and pop. Shadows that live alongside its better known, sunnier side. Research works, new musical prototypes, sometimes re-incorporated into the main trend, sometimes closed with the abandonment of their creator. Paths of style, as in the case of Connors and Sorrentino, personal expressions that however outline a path of growth both individual and general in the field of contemporary guitar music. A path made of shadows with solid substance and tenacity that show us new paths and new languages. Unlike Plato’s cave.