Music Reviews

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Artist: NICK DIDKOVSKY (@)
Title: Tube Mouth Bow String
Format: CD
Label: Pogus (@)
Rated: *****
After sever listenings I can truly say I really love this release. For those who haven’t associated the name yet: this Didkovsky is a member of Doctor Nerve even if this work for guitar and string quartet is situated somewhere else if compared to that band. The territory is somehow that where generally you’re used to meet people like Fred Frith during some of his many contemporary trips but the compositional style plus the sound of Didkovsky are more noisy and I’d put in more severe. The music featured in this work has an high evocative impact and be it intentional or not the fact the cd opens with a sequence of notes really close to Morton Feldman's "triadic memories" (from "Crippled Symmetries") can give you an hint of the whole audio journey. The fact is that despite this similarity the music is considerably far from Feldman, just take the second track for solo electric guitar and computer: this music is more chaotic and noisy, it really reminded me of some old works by mighty Caspar Brotzmann when going less rock like in "Zulu time" where he teamed up with Page Hamilton. With the third episode the matter is more drone-oriented thought this guitarist's style slowly fuses with the string quartet, the magma is really well melted due to the fact every musician is using a talkbox thorough which they alter the sound of their instruments with the shape of their own mouths. The piece evolves gradually letting the string music come to surface, despite some really odd dissonances it reminds of some classic experimental composition by Maderna, Stockhausen or in the likes, the only difference is that the structure here is less fragmented and moves like a mantra from the outer space. "What sheep herd" offers something which probably would go really close to Giacinto Scelsi if he only would be still alive: it sounds like a monochord composition which owes so much to music coming from Asia. As you probably have guessed the final part of this work is more relaxed and silent and both the adjectives fits really well for the closing track where you have just the string quartet restrained and increasingly fading into silence. Didkovsky’s music is deeply influenced by some of the best composers hailing from the sixties and seventies, if you are into some Frith consider the last track has been appositely composed for his guitar quartet, the two musicians are not too similar, but you’ll probably find some interesting connections.




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