Andy Summers & John Etheridge
Invisible Threads

THE REVIEW

Let me preface by saying that the cover depicted in this review is not the same as the one on the CD packaging. The image on the disc I own is a monochromatic photo (chrome oxide green) of a smiling child holding a small airplane in his right hand. The one in the review, however, shows a person seen from behind with a dark and ever-ominous landscape in front. Perhaps it’s the same child grown up… While life was once fun and carefree for him, now it is dark and full of uncertainties.

"Invisible Threads," or the invisible threads of life that connect all living beings, for better or worse, those that allow us to create wonderful works but also those that can drag us into a vortex of death and destruction. Freud once said, "The mind is like a city," therefore, humanity could be likened to a vast nation composed of many small cities with more illuminated streets and darker ones, all connected by invisible vital threads.

The album was produced by A.Summers and recorded between May 25 and June 14, 1993. The collaboration between the two musicians is undeniably successful and convincing both in the compositional and creative aspects. It is a completely instrumental work, where Andy and John use guitars (acoustic & 12-string guitar) and acoustic basses depending on the tracks. The guitar arrangements are always refined and endowed with excellent crystal-clear sounds. You won't hear excessive virtuosity but "only" music played with heart and taste. Twelve tracks for a total of about forty-five minutes.

The first track, "Broken Brains," immediately clarifies the artistic and sound qualities of the CD. Indeed, from the first listen, it appears "tasty" and quite immediate. The overall atmosphere of the album is slightly melancholic. Particularly in the small masterpieces "Moravia" and "Stoneless Counts." Splendid and unforgettable "Nuages" (D. Reinhardt), "Monks Mood" (T. Monk), and "Archimedes" with calibrated and rather meditative sounds. More cheerful and sunny are "Counting the Days" and "Heliotrope." The other tracks, however, are slightly more challenging and therefore require more listens to be better appreciated. Only in brief moments do they seem slightly repetitive.

The recording quality is excellent. The booklet is decent with three consecutive black and white photos inside of the two musicians with particularly playful and smiling expressions. Furthermore, the booklet contains a brief note (July '93) from Summers about the artistic (and not only) encounter with Etheridge. An excellent album, recommended to all enthusiasts of these music genres.