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SUCCOACIDO - Grosseto - Italy (www.succoacido.it)

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CD reviewed november '03 / Succoacido nr. 18

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Massimo Aiello / Tribute to Beeethoven.Drum in the symphony no.9 / Azzurra music

Massimo Aiello was born in Naples in 1966. Since the age of 10 years old he had studied music primarily as self-taught, but he also went to various courses with important drums teachers (as he say, even if he doesnít specify the names, but we trust him of course). Since the 1987 he turning around performing a show devised and carried out by himself, that had earned him also the record we talking about, that is apreciated in various contexts: festivals, churches, places, theatres, schools. Rather eccentric. Rather pretentious. Interesting the fair. Turned out well, I think. Hold on to yourselves: he has added drums to the four movements of the Beethovenís ninth, Ode to joy included. Naturally everyone will can have his own idea on the conceptual significance of this gesture. Naturally, recommending that to Beethovenís fans could be cause of jokes to me and to my critical sense. We can say that the record (recorded in studio playing drums live on a reproduction of the opera), and even the show I think, can be preferably prerogative of those who studying the instrument (or have a great interess for the instrumentís possibilities). Or even for who that isnít tired enough of these operations (so dearly to a certain progressive) that tend to approach the rock sphere to the classical music (I remind you that exist ways and ways to do that). The drums is certainly a principal instrument, cardinal, of any kind of rock [born as addition of high percussions (more as position then as frequencies, I think) (cymbals??) to the low percussions (drums???) in a sphere that we could define jazz but it would be better that someone would intervene with cultured pages of instrumentsí history] and that will not be us that watching badly somebody who experiment the use or the study out of its sphere. So, go with the drums and percussions accompaniment (and every kind of turning upside-down), acoustic but obviously electronic also, even if we talk about solo voice (even vocodered) or bows quartet, of wind and rain or desertís breath, overfree horns or noise guitarsí orchestras, prepared pianos or carpenters on lunday morning, mow-machines or AM radio frequences, microwave ovens or sea waves, cellular phones or police vans, technohouse records or fields recording from the general markets. You can add also drums to someone that read this fucking piece of writing during a teenage poet-girl from Friuli perform it traduced in a dead language with the choir of an homosexual employee in the Pisa universityís Geography department. But pay attention both to the ridiculous and to the useless. Signs of art them too.

 

Giovanni Vernucci

 

 

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CD reviewed november '03 / Succoacido nr. 18

!!!, A.D., AA.VV. ALL TOMORROW'S PARTIES 3.0, AA.VV. ANNO ZERO, AAVV FRAGMENTS, AAVV SIXDAYSONICMADNESS, ABARTHJOUR FLOREALE, ALŐ BABņ, ANDREA SAMBUCCO, ANDY MOOR (THE EX)/ JOHN BUTCHER/THOMAS LEHN, APOKALYPZ BUGZ, ARAB STRAP, ARRINGTON DE DIONYSO AND THE OLD TIME RELIJUN, AUTOBEAT, BLACK DICE, BLACK NIELSON, BLUEPRINT, CALIFONE, COLEMAN, CONQUEROR, D'O.N.C., DAVID SYLVIAN, DEERHOOF, DELICIOUS, DEMODE, DESORMAIS, DIANA DARBY, DNA 2, ENCODE, ENON, EVEREST, FABIO FIOCCO, FU MANCHU, GATTO MARTE, GONNA FALL HARD, GOODMORNING BOY, GUIGNOL, HAT MELTER (HESS/KLATT/MUELLER/TURNER), I/O, IL GENERALE & TONI , KAMMERFLIMMER KOLLEKTIEF, KEN ISHY, KOPERNIK, LA BETONIERA, LUXLUNA, MARA', MASHA QRELLA, MASSIMO AIELLO, MEANWHILE BACK IN COMMUNIST RUSSIA, MEMORIA ZERO, MILITIA, MODERN INSITUTE, NEMA NIKO, NEURODISNEY , PLUMP DJ'S, POOR RICH ONES, PUDDY, QUINTO STATO, RADIO MAGENTA , REMI, RICHARD H KIRK, ROPE, ROYAL TRUX, RYE COALITION, SLOWMOVIES, SOFFULL, SONIA BREX, SOULO, TALK SHOW HOST , TERJE NORDGARDEN , THE DIVINE BROWN, THE HOT WIRES, THE KILLS, THE LIFE AND TIMES, THE RAPTURE, TIED AND TICKLED TRIO, TUJIKO NORIKO, TWINK, UOCHI/TOKI, VEDDA TRIBE, WIRE