Max Fuschetto
Ritmico non Ritmico

Five years after Mothermoonlight, the avant-garde composer from Campania (Benevento), Max Fuschetto, returns with the new album entitled Ritmico non Ritmico. On this occasion, the style becomes increasingly minimal and atmospheric, with the piano played by Enzo Oliva taking center stage. We are undoubtedly facing an eclectic artist who plays with "contamination" between high and low (as can be understood from the track "A Lucio B." dedicated to Lucio Battisti) and above all seeks, with his music, to create a connection between different arts, particularly with painting. Both the cover and the title pay homage to Paul Klee, while in the album there are 2 tracks always dedicated to Paul Klee and Jackson Pollock. Besides the piano, the strings also play a significant role in the sound economy. At times, I felt like I was listening to some of the most rarefied compositions by Brian Eno and Harold Budd. "Vortex a Jackson Pollock" is perhaps the most challenging and fascinating moment of this work: the settings are very close to contemporary music and aim to bridge different languages. In any case, we are facing an album that requires a few listens to be fully assimilated; however, contrary to what one might think, Fuschetto manages to be communicative, and Ritmico non Ritmico turns out to be a relaxing and anything but trivial listen. The music is calm, refined and able to let the mind travel to inner landscapes that seemed forgotten. Tracks like the initial and rarefied "Number 1" and the subsequent "Number 3" and "Number 5" immerse us in a quiet and almost meditative dimension. Elsewhere, as in the aforementioned "Vortex a Jackson Pollock" and in "Iride a Paul Klee," a subtle unease emerges, but overall, Ritmico non Ritmico manages to be an accessible and mature album that confirms the validity of this artist.