A former member of the Laboratorio di Musica & Imagina avantgarde ensemble,
that released A Propos de (Erosha, 1993),
Rosemberg's Revised Timetable (Erosha, 1995), with Jon Rose,
and Colpi Secchi Giro di Basso (Erosha, 1996),
developed a personal technique at a modified folk guitar through
Dove Dormono gli Autobus (Erosha, 1995),
Linee di Fuga (Erosha, 1998),
the suite Tessuti (2004),
MA.Ri. (Auand, 2003), a collaboration with Antonello Salis.
Recorded live during the european tour of the previous two years, Bucato (ReR, 2003) offers a set of instrumental pieces for prepared guitar. While the exclusive use of a single instrument may result in an overall monotonous sound, the stylistic range of influences is fairly wide. Paolo Angeli seems to be perfectly at ease with minimalism (Lulas), jazz (Discussione inutile), noise-rock (A righe), chamber-music (Etterbeek) and traditional Italian music in general (Mesh plug, E vai!). [Reviewed by Max Osini]
Nita (ReR, 2005), eight years in the making, is, instead, an orchestral
straddles the border between prog-rock, chamber music, folk and big-band jazz.
Nita is a folkish leitmotiv, but Specchi d'Arancia is a
Frank Zappa-esque orchestral aria that decays into nocturnal jazz,
and Pari o Dispari is a Lol Coxhill-esque marching fanfare
replete with cacophonous coda.
Many of the 23 pieces are only sketched, and that can be the main drawback
of this "imaginary soundtrack". Angeli makes broad use of sampled voices and
folk tunes, a praxis that recreates the nostalgic atmosphere of Fellini's
movies. But he also adds brief neoclassical sonatas (for various instruments)
as well as dissonant bluegrass numbers (Pascoli) and abstract
dadaist vignettes (Tibi).
The album is a multi-dimensional experience akin to riding a merry-go-round
in a crowded county fair.
Tibi (ReR, 2010) is another chaotic collection of carefully orchestrated
Itsunomanika (ReR, 2011)
was a live collaboration with After Dinner's female violinist Takumi Fukushima.
There is a lot more than the
dissonant "scenic" duets that one would expect (Vele Spiegate, Vuoto A Rendere):
a hysterical punk-dada intermezzo (L'Altra Faccia Della Medaglia),
a delicate renaissance madrigal (Itsunomanika),
a sonic kabuki for male and female voices (Dialogo Tra Sordi/Bricciole In Fuga),
a lullaby with frenzied dervish-like dance (Nee Dear My Sister).
The zenith is perhaps
Kaze No Tabi - Voyage Du Vent, a show of the violin that weaves a lengthy and emotional tale.
The collaboration is mostly influenced by the
voice, violin and musical roots of the Japanese partner.
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