Andrea Presciuttini
Steady Mutations

If this "Steady Mutations" didn't bear the name of its author, Andrea Presciuttini, one might think they were facing the work of a duo of talented yet complementary musicians. On one side, the pianist inspired by soundtrack compositions; on the other, the rock blues guitarist who, while not losing the sophistication of harmonies and sounds, pursues more standard song forms. Yes, at least two musicians; yet, these two souls coexist fruitfully in the author and musician Presciuttini who, after the previous Yunaguni project, completely abandons the human voice and presents a collection of instrumental pieces that are at least diverse.

Let's say it outright, the prevailing soul is the pianistic one, which finds expression mainly in the numerous solo piano pieces. But it would be a mistake to expect an album of romantic arpeggios or crafty melodies; the market is already full of those, and we already know where to find them. Presciuttini does not aim for protagonism or sensationalism; instead, he prefers to accompany the listener by discreetly telling his own stories. These stories can be found in tracks like "Le regard des Enfants," where Presciuttini builds a sound nursery rhyme that becomes increasingly hypnotic with the cautious addition of other instruments, or in the languid melody of "Dix Jours de Pluie." Among these solo piano tracks, the most complex is perhaps "Thirteenth Floor," a true soundtrack marking the scenes of a nonexistent film.

But the cinematic approach is also found in the "electric" Presciuttini of "August in Milan," reminiscent of Air's "Moon Safari," or in the guitarist Presciuttini of "All my travels," where the reference to Pat Metheny is evident even from the title, or in the psycho-blues of "Oceano."

In "Steady Mutations," there is an abundance of ideas, and the compositional texture certainly stands out. Certainly, the inspirations are so diverse that it's difficult to find a single audience that will appreciate both the intimacy of tracks like "The Wide Land" and simultaneously the country blues of "Step by Step." Presciuttini may thus continue to be a creator of soundtracks, or inevitably one of the two will have to decide to leave the group.