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Mark O'Leary – Nuova Musica Elettronica (TIBProd. Italy, 2017) Review Review by Cassian Reverberi Irish guitarist, composer, and electronic music explorer Mark O'Leary has long demonstrated an adventurous spirit, spanning jazz improvisation, avant-garde collaborations, and ambient soundscapes. With Nuova Musica Elettronica, released on the Italian label TIBProd. Italy in September 2017, he fully immerses himself in the realm of experimental electronics, crafting a homage to the rich tradition of Italian contemporary electronic music from the late 20th century. The album comprises seven tracks — simply titled Nuova Musica Elettronica I through VII — with durations ranging from around 4 to 9 minutes, creating a cohesive suite that unfolds over roughly 57 minutes. Recorded at Neu Hub Studio in San Benedetto Del Tronto, Italy, the work credits O'Leary for music, with executive production and artwork by Daniele Santini. At its core, Nuova Musica Elettronica is a series of pastiches — deliberate stylistic collages — drawing from the experimental electronic legacy of figures like Luciano Berio (whose Studio di Fonologia Musicale in Milan pioneered tape manipulation and vocal electronics in the 1950s–70s), Franco Evangelisti, and others associated with the RAI electronic music studios. O'Leary channels this spirit through layers of manipulated voice, iridescent piano sonatas, minimalist motifs, and electronic synthesis, often evoking a nostalgic patina reminiscent of early-1970s Italian avant-garde. The opening track, Nuova Musica Elettronica I, sets the tone with shimmering synth textures and processed vocal fragments that drift like echoes in a vast, cathedral-like space. The piano emerges in crystalline, almost classical gestures, juxtaposed against glitchy electronic interruptions and subtle transistor radio static — a nod to the era's analog experimentation. Tracks like III and VI build tension through eldritch (slightly eerie) confluences, where voice and electronics intertwine in discursive, almost narrative ruminations. O'Leary's approach is direct and uncompromising, avoiding dense obfuscation in favor of captivating transformations. Retro images of Italian pop culture — think vintage radio broadcasts, fragmented opera-like vocalizations, and ambient field recordings — crystallize into what the liner notes aptly call a "portmanteau of aesthetic algorithms." The result is an experimental ambient narrative that feels both retrospective and forward-looking, with moments of hypnotic minimalism giving way to capricious electronic flourishes. Highlights include: Nuova Musica Elettronica V — the shortest piece at just over 4 minutes — a concise, almost meditative interlude that showcases O'Leary's skill in restraint. Nuova Musica Elettronica VII — a sprawling closer that synthesizes the album's themes into a transfixing finale, blending piano elegance with swirling electronics. While the album's conceptual depth and sonic palette will appeal strongly to fans of Berio, Stockhausen, or modern practitioners like Alva Noto and Fennesz, it also stands as a personal statement from O'Leary, expanding his already diverse discography into pure electronic territory. It's not background ambient — it demands active listening, rewarding repeated spins with new layers of detail. In an era where electronic music often leans toward dancefloor immediacy or hyper-polished production, Nuova Musica Elettronica feels refreshingly recherche — a thoughtful, uncompromising tribute that bridges past and present. Highly recommended for those who appreciate the intersections of contemporary classical, experimental electronics, and ambient exploration. Rating: ★★★★½ (out of 5) A compelling, evocative journey into sonic nostalgia and innovation. |
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