It starts with a shoegazing pitch, then it goes fully and beautifully psychedelic right after the opening track.
Like 'I know how the next song is going to be' and, no, you don't.
Mattia Marcelli, from Rome, Italy, is a sound engineer, and, before that, an ispired musician, multi-instrumentalist.
We met here and there along the last two decades. My pleasure.
This Music for Ghosts comes nine years after his debut work MatSch. But this is a new chapter.
Then, the bending, saturated guitars of the opening track Sinisterer are the perfect false intro to what you won't hear, jumping through the tracklist.
Ungewiss, track number two, is the real ticket to Mattia's trippy and articulated writing: an instrumental, smooth and suggestive ascension. It slowly mounts an enwrapping of multilayered sound cascade (check also Music for Waterfalls), and right after the storm it comes the celestial impasse of another instrumental piece, A Meadow. Disarming beauty, subtle haze.
Later Giurassico features an hypnotic bass riff and an overwhelming crescendo of jurassic volcano activity and bliss-out euphoria.
But it's Red Herring what I believe to be the hidden special treat of this best kept secret opus: catchy groove and mellowly sensual, and Mattia got some deepers nuances of vocals here. Fans of Spacemen 3 and Ultra Vivid Scene would love that. Like on Dissolve, fully mesmeric: there's a burning moment of crescendo here that totally hooked me. Let me know if you spot that too. Do yourself a favour and play this track with headphones on. This song grabs the whole record to another level.
Then it's Wastelands to venture through drone rock catharsis. What a pity it's not a ten minutes trance song. I played it on loop a couple of times. It works better.
Twin forests, simple instrumental interlude, still, so tuneful and strong of a cohesive arrangement.
Last track 100 Guitars Army talks like an adult to his former song One Guitar Army. No rush, no, it's a calmed down cavalcade of texturally-rich guitar work, with a number of swells ecstatically epic.
A record label should pop-up and share with the world this hidden gem.
Also, don't miss these live, early versions of Wastelands and Ungweiss
Like 'I know how the next song is going to be' and, no, you don't.
Mattia Marcelli, from Rome, Italy, is a sound engineer, and, before that, an ispired musician, multi-instrumentalist.
We met here and there along the last two decades. My pleasure.
This Music for Ghosts comes nine years after his debut work MatSch. But this is a new chapter.
Then, the bending, saturated guitars of the opening track Sinisterer are the perfect false intro to what you won't hear, jumping through the tracklist.
Ungewiss, track number two, is the real ticket to Mattia's trippy and articulated writing: an instrumental, smooth and suggestive ascension. It slowly mounts an enwrapping of multilayered sound cascade (check also Music for Waterfalls), and right after the storm it comes the celestial impasse of another instrumental piece, A Meadow. Disarming beauty, subtle haze.
Later Giurassico features an hypnotic bass riff and an overwhelming crescendo of jurassic volcano activity and bliss-out euphoria.
But it's Red Herring what I believe to be the hidden special treat of this best kept secret opus: catchy groove and mellowly sensual, and Mattia got some deepers nuances of vocals here. Fans of Spacemen 3 and Ultra Vivid Scene would love that. Like on Dissolve, fully mesmeric: there's a burning moment of crescendo here that totally hooked me. Let me know if you spot that too. Do yourself a favour and play this track with headphones on. This song grabs the whole record to another level.
Then it's Wastelands to venture through drone rock catharsis. What a pity it's not a ten minutes trance song. I played it on loop a couple of times. It works better.
Twin forests, simple instrumental interlude, still, so tuneful and strong of a cohesive arrangement.
Last track 100 Guitars Army talks like an adult to his former song One Guitar Army. No rush, no, it's a calmed down cavalcade of texturally-rich guitar work, with a number of swells ecstatically epic.
A record label should pop-up and share with the world this hidden gem.
Also, don't miss these live, early versions of Wastelands and Ungweiss
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