Detailed Reviews [Vittorio Nistri & Filippo Panichi - 2024 - "Vittorio Nistri & Filippo Panichi "]

Prolusion. Italian composers and musicians Vittorio Nistri and Filippo Panichi started to collaborate a few years back, combining their rather different backgrounds in a creative partnership that draw upon impulses from rather different spheres. Nistri is perhaps best known as the keyboard player in the avant progressive rock band Deadburger Factory, while Panichi is an innovator in the field of electroacoustic experimentation. This year the duo released their first collaborative album through Italian label Snowdonia Dischi.

Analysis. As far as the progressive rock universe goes, this is one of those creations that exist inside of this sphere due to the inclusion of electronic progressive music in the tradition. Hence those looking for rock music elements will probably not find all that much to enjoy here, but those with a more firm interest in progressive electronic music will find a lot more to be intrigued by on this production. This is an album that is experimental in approach as well as execution mind you. While we do get a fair few instances of compositions that revolve around cosmic elements of some kind or other, this isn't one of those albums that will be comparable to the Berlin School tradition, nor to noteworthy artists like Kraftwerk or Tangerine Dream or even Vangelis. Elements and details with a possible classical music origin is a part of these often cosmic displays, but sounds with possibly a bit more of a folk music inspired tinge to them are worked into these escapades too. More direct classical music references in toe form of strings and chamber music arrangements or sections inspired by these are elements that appear on a few different occasions too, and a little bit of jazz does find its way into these creations too. More often than not with a dominant or a more subtle and careful cosmic display of some sort being present. Electronic noise elements of different kinds is the most defining aspect of this experience though. Sometimes as the provider of cosmic sounds, on a couple of occasions with a little bit of a nod in the Berlin School direction due to mechanical rhythm displays, and rather often as the provider of subtle, dominant or dramatic electronic noise components. While not always a strictly dominant and defining element in the individual creations, this is a mainstay element throughout this production. All of that being said, in essence this is an album that probably exist outside of the common genre and style conventions. The approach and execution as well as the use of electronic instruments makes it a natural fir for the progressive electronic music part of the progressive rock spectrum, but in shape, form and sound this is an unconventional and boundary-breaking creation even inside this frame of reference.

Conclusion. For the right audience, as I consider this to be a little bit of a niche creation, this is quite the mesmerizing experience. While often dark and with brooding tendencies as well as dramatic haunting effects, there's also a dreamladen feel to many of the landscapes as well as occasional whimsical aptitudes here and there. In some way one might say that the moods and atmospheres are as diverse and experimental as the album as a whole. An album for those fond of the more innovative and boundary-breaking aspects of electronic progressive music.

Progmessor: November 2024
The Rating Room