Matteo Uggeri: composition, field recordings, trumpet; Franz Krostopovic: viola; Andrea Ics Ferraris: piano, guitars: Andrea Serrapiglio: cello; Mattia Costa: drums; Gaia: whispers; Raniero Casini: paint mixer; Agostino Brambilla: organ recordings in “Zadar”.
Its title notwithstanding, this work by Matteo Uggeri has more to do with a reconnection to the benign spirits populating the most serene REM phases and what can be classified as “sweet dreaming”. It is molded by ten tracks flowing one into another without breaks, thus improving already manifest tranquilizing features. I won’t even start to recount the moral fatigue and the out-and-out tedium oppressing my afternoons when subjected to flaunty albums from the same ambit. On the contrary, this is quite remarkable in its modest poise.
Several reasons were identified to vindicate my unmediated liking of Untitled Winter. Instrumentally speaking, one has to love the way single voices unfold – with no hurry – in conjunction with loops of uncertain provenance. The melodies and the geometries they depict are rather basic, yet deep enough to sustain involvement while causing a modicum of emotional consequence. A factor of aural contentment is the use of field recordings with a distinct compositional awareness, as opposed to the usual “filling material” formulation. Echoes of realness appear with a purpose, then fade away leaving us asking “why”; before the “because” has come, the scene has probably shifted elsewhere. And so, hesitation lingers on in spite of the continuance of an inward-looking calmness.
Neither minimalism – at least in the strictest acceptation – nor pure improvisation (although I’m sure there is some), a plausible explanation might be connected to the act of surrendering to the stream of unclear images and ineffable soundtracks lulling us to grogginess in the rare moments of kept-under-check tensions. By any means do not treat it as wallpaper, and listen.