Being a resolute rebel since my pre-teen days, presumably because of some weird DNA from Siberia, there is absolutely nothing that impresses me more than cleverness, whether in culture, art, sports, literature, cuisine, love and most of all, music. I landed on this by pure accident (as is so often the case with blind recon missions), thinking that this is surely just another RPI band from Italy, as both Opaque Future and Glass Fortress are expressed in that lovely romantic language! Looking at the cover art, I thought that it just could be another dream coming true, as I always loved the Ocean 11, 12, 13 soundtracks, but was disappointed about it all being mini snippets. Most of the tracks (all Italian titles) are in the 4-minute range and under 40 minutes running time, same with their previous 2 albums, which I subsequently acquired. Blown sideways and then away, as this is a USA one-man band project, led by Justin Pinkerton (as opposed to an Enzo Ferrucci!) from Oakland, California, a hyper talented drummer with stoner band Golden Void who has gone solo with a CLEVER package of jazzy space/psychedelic instrumental tracks that exude charm and immense musicality. It’s extremely captivating, at times remindful of an imaginary sequel soundtrack, with a wide variety of infused cinematographic detail that screams out for more foot tapping and head bobbing joy. Imagine for a second, Ennio Morricone mixed with Soft Machine and a strong dose of Can, as well as some Afro influences, a retro-futuristic project that transcends time and space.
There are nine brilliant tracks presented here, launching the athletic raid on the downward spiralling “Spirale Discendente”, the drum attack taking no prisoners and blasting straight into Psychedelic ranting and raving of the finest vintage, a dive into electric guitars buzzing, burly bass contortions, and an echoing e-piano straight out of Ray Manzarek school of doorway building. I need a towel to wipe off the perspiration! The second track extols the virtues of some late 60s Italian flick soundtrack, as if putt-putting Vespa scooters are challenging the little Fiats 500 for the rights to race on the autostrada. The manic percussives reign supreme, the rhythmic madness totally pazzo! “La Banda Piu Pericolosa” is effectively a dangerous foray into sonic seduction, where synthesized onslaughts collide with wah-wah guitar flirtations, the startled audience running through narrow cobblestones streets packed with impatient Napolitan children dreaming of being the next Maradona. A sensorial delight, like sucking on a Salerno lemon.
Like a corrupt hedge fund scam, “Crollo Capitalista” starts out all positive and hopeful, the rifling percolations generating a head of steam, heading on the road to musical wealth, the relentlessly tortuous guitar phrasings signaling the eventual collapse into death-defying tragedy for both the ears and the bank account. Money is a roller coaster ride of endless peaks and valleys , credit fighting with debit, savings against loans. Who wins in the end? The drummer! Perfect segue into “Scavando La Nostra Stessa Tomba” (digging our own grave- for you non-Californians) is an effect-laden buzzsaw bass excavator that relies on merciless psychosis to prepare properly the coffin that will seal our fate. The monstrous bass crawls forward even more, emboldened by the pace on “Corruzione Coltivatea”, the bass boss capo seems unburdened by any possible repercussions (good lawyers = bravi avvocati) and throttles anything in its way, the synthesizers arrive to sweep aside any conscientious objector. Nasty piece of music, Hugh Hopper and Roy Babbington should be proud, though this more hard than soft machine work. This is more addictive than grappa and espresso.
The bass guitar remains in the lead but now shows its more sedate side on “Poliziesco”, a sensory slide into a retro-psychedelic score, the shuffling pulse rigorously thrill seeking, the sax blaring and the percussion remindful of some episode of the Streets of San Francisco TV series of the mid-70s (With Karl Malden and Mike Douglas) . As if the spirit of Carlos Santana showed up for the session, the change of pace on “Terra Che Non Respire” gets that Mexicano vibe going, the guitar sounding at times like a charango, the subtle synths doing a rain dance and the overall melody broodingly intense instead of playful or jolly. Incredible stuff! “Fortezza di Vetro” is an acoustic guitar ‘arrivederci’, a tour de force that showcases Justin’s undeniable multi-instrumental talent. Close your eyes and dream on. The delicate intricacy of the hand percussion alone is worth the prize. The muted electric solo is deliberately understated, so as not to shatter the fragility of the piece. It is after aptly titled “The Glass Fortress”.
Perhaps Justin owns a hardware store to pay his bills, as his drumming skills are perfectly power-drilled, melodies smartly nailed down, the bass lines plumbed to noisy perfection and the musical details expertly wired for optimum pleasure. The future is not bleak anymore, as this project needs to continue ! In the meantime, I will reinforce my fortress with some fibreglass insulation. 39 minutes of mind-blowing magic . I have discovered a new ‘amore’.
5 Crystal castles