UN'ESTATE SENZA PIOGGIA

Un'estate senza piogga is a charming, poetical and intuitive electronic rock album released by Matteo UGGERI with a few guest musicians and friends such as Andrea MARUTTI or Giuseppe VERTICCHIO. The poetical operation explores memory traces and micro-events of the past that find a serene peace in the interior-nostalgic experiences of the self. The concrete-natural noisy sequences taken from the "cinema" of everyday life is manipulated by the imagination to create a sort of visionnary emotional experience. The artistic-musical facets try to capture the symbolic meanings of objects, situations and events. The resonant, intimate and echoing melodic guitar lines meet veiled, cloudy windy noises, spectral distant voices, skeletal micro electronic tones and delicate piano notes. The music is a contemplation, a gradual dialectic about the natural silence, ambiguity and about the poetical, lyrical states. The visible world becomes a pure and simple poetical action which can be called "charm". The state of innocence is its condition of existence. Un' estate senza piogga is a very absorbing, moving, luminous and communicative musical experience. A great introduction to Matteo UGGERI's original world of sounds.

"Un'estate senza pioggia" is a mysterious album by Matteo Uggeri, and it starts off with the beautiful sounds of lightly amplified electric guitar, but various organic sounds soon appear within the soundscape. Most of the sound is electronic, but has a strong base in organic texture that really makes everything seem comfortable and homey.

Although the buzzings, clings and clangs, slightly disrupting resonances, beautifully organic field recordings, musical instruments, and glitching elements are present here, it all seem to lack the coherence of Uggeri's later work. It seems weird to say that, this being experimental electronic music, after all. But it is hard not to feel that this all seems much more random than "The Distance" or "Autumn Is Coming, We're All In Slow Motion", which both seem to focus on keeping each field recording in its own situational context within the music. The recordings here, coupled with instrument choice and tone, don't seem to really fit.

This is all still very soothing, and intermittently creepy music. It's definitely not bad at all, but not as structured properly as the albums following this.