venerdì 8 maggio 2015

Review of Deconstruction by Pino Forastiere, self-released in 2015



This cd, I would call almost an EP for its limited duration, made by the excellent Italian acoustic guitarist Pino Forastiere has a curious title.
Now, if the famous aphorism "talking about music is like dancing about architecture"  makes a direct connection with the art of building, the title of Pino’s CD makes implicit reference to one of the most interesting architectural trends today:  deconstruction. So I tried to listened and thought about this record as an implicit musical response to this cultural and aesthetic movement that have long been the object of discussion in other cultural fields and that produced tangible and artistic results works by Frank O. Gehry and Zaha Hadid.
There is no doubt that in the second half of the '900 contemporary music has been found more often in the uncomfortable role of no longer being able to write the future, often rejecting the proposals that came from artists who had now taken a conscious decision operate on the edge of what was defined as "avant-garde", a kind of large pot in which they found themselves seated together at the same time completely different visions as composers linked to Darmstadt, free jazz, improvisation radical, Miles Davis, Coltrane and anyone who decides to commit its own artistic path without any nostalgia for the future, to quote indirectly Luigi Nono. And I just think that just over six months ago Steve Reich explained one more time, during his press conference in Venice, to Paolo Baratta, director of the Biennale, that the term minimalism was adopted by Michel Nyman in the 70s, getting it by architecture.So I was very pleased about this cd, in it Pino Forastiere brings the extreme elements of his personal musical vision, already present in his other works, but here they emerge driven by some kind of urgent creative necessity creative.
Pino is a brilliant musician, his music draws by a huge amount of  personal experiences that ranges from his classical studies, his love for Michael Hedges and Alex De Grassi, the rigor of the Reich, a guitar’s technique to the limits of theatrical acrobatics. Already his previous cd "From 1 to 8" was already showing signs of a voluntary change, an exit from the boundaries of the “quoted”  folk music, from the borders already tracked by tradition, with the strict definition of eight studies for acoustic guitar In this "Decostruction" the search continues: I feel the strong desire for a drastic change in the geometries, a rejection of straight lines, easy routes, a need of bravely balances and  unstable forms at the same time as well, disarticulated and decomposed, consisted of fragments, deformed volumes, cuts, asymmetries and an absence of traditional aesthetic. And I think Pino succeeded: perhaps someone could categorize this record with terms such as crossover and quotations, but I think here we go beyond these definitions of convenience.

Objectively, I do not know how it will be received byt the community linked to the folk acoustic guitar, personally I think this cd is one of the most interesting things in 2015 and I hope it is just the beginning. After minimalism, after post modernism and after the crossover, a musical genre which I frankly can not listen, write and talk anymore, I hope this is the time of music’s deconstruction.


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