Fazio - All at once the remote go forth my soul and my seeking, the unknowable becomes known

For the past few years I've been the lucky recipient of a series of stunning (both visually and aurally) albums from New York musician Mike Fazio.  Working under an array of pseudonyms - 'Gods of Electricity', 'Orchestramaxfieldparrish', 'A Guide to Reason' - he has provided me with hours of immersive fun.  Now simply using his surname Mike has provided us with a beautiful set of improvised solo guitar pieces that will bend your head in all mannner of interesting ways.

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Mike Fazio would seem to have retired his orchestramaxfieldparrish persona, for the time being if not permanently, but admirers of the wondrous work he's issued under that name needn't worry: the two recent works released under the Fazio name could just as easily have appeared under the orchestramaxfieldparrish guise, the Quiet World set especially. A purely instrumental recording, All At Once the Remote Go Forth My Soul and My Seeking, The Unknowable Becomes Known, was “improvised and  recorded on the beautiful morning of August 21, 2011, somewhere in New York City,” and presents Fazio's artistry at its purest: one man and one guitar, and all of its forty-one minutes recorded live. The range of sounds Fazio coaxes from that single instrument is remarkable, however. In the first of six parts, “Extending Wings,” thick washes hover ominously overhead, spreading out until they encompass one's full range of vision. Though his guitar sound might be described as metallic, it's never abrasive or alienating. Instead, there's a warmth to Fazio's tone that draws the listener in, something particularly evident during “The Pearl of the Sea,” where his crystalline picking reverberates against a cloud-like mass for a sublime eleven minutes, and “Truly the Light is Sweet, and a Pleasant Thing it is for the Eye to Behold the Sun,” where the impression created is of someone blinded by the sun's radiance. The album's closing pair, “Be Not Darkened, Nor the Clouds Return After the Rain” and “A Place for Giving,” offer a satisfying dénouement in offering a meditative and calm exeunt. Transporting, mystical, celestial, and majestic are some of the words that come to mind as one listens to the recording.
Textura

Avete mai salutato il Sole al tramonto, lasciando che i raggi caldi v’inondino il viso, vi scendano come fluidi calorosi dentro il corpo come serpenti nutrienti?
Provatelo e capirete che la musica di Fazio in questo album, in questo monicker (ricordiamo tale dorato plettro figlio della Grande Mela anche come A Guide For Reason oppure nella Orchestramaxfieldparrish di cui è direttore e parterre!!).
ìNelle prime due tracce, “Extending Wings” e ”Apologia”, l’estasi è percepibile epidermicamente, una sensazione di stasi ebbra sotto la nostra stella regina dei cieli diurni, una cascata di micro-particelle che attraversano l’epidermide per fluire ovunque, dentro.
Due brani in downtempo come tutti i rimanenti, ma qui, nella loro flemmatica meraviglia, dronica ed armonica, un flusso radiale di calda energia sonora potrà ricordarvi davvero quel raggio del tramonto, un suono pieno, quasi un idillio fluttuante, due brani aperti su landscape senza frontiere, scritti per orizzonti vasti.
C’è molta sintonia in questo tra l’artista newyorkese e la label del Galles, ricordate Sujo ed il suo piccolo Cdr dal grande valore meditativo.
La chitarra di Mike Fazio diviene protagonista con “The Pearl Of The Sea” tramite piccole plettrate delicatamente ‘wang’, creando un ambient/shoegaze bucolico, appeso ad immagini rilassanti, ammiccando alla pigra bellezza di chitarra dei Cocteau Twins di “Victorialand” o immersi con Harold Budd nel porgere omaggio alla Luna.
Nella seconda parte del brano inizia a crescere potente un versante totalmente shoegaze e quei raggi di sole precedenti divengono ora accecanti, nel successivo brano dal titolo lunghissimo (una rivincita per un album sempre silente), “Truly The Light Is Sweet, And A Pleasant Thing It Is For The Eyes To Behold The Sun”, dopo quel forte raggio precedente, torna la calma di un lungo tramonto vissuto tramite il suono, filtro perfetto per un brano ora quasi nebbioso, “Be Not Darkened, Nor The Clouds Return After The Rain” è quasi speculo notturno delle tracce precedenti, ancora fortemente estatica.
Ora avete tre opzioni: la prima prevede un saluto al Sole del tramonto, carico di energie che vi scalderanno il viso e l’anima, la seconda prevede l’ascolto di questo lavoro in sei tracce di Fazio, la terza è la conseguenza e vi vuole rilassati in entrambe le soluzioni, attraverso la musica, immersi nella Natura.
Nicola Tenani, Sounds Behind the Corner

Following 'Elegie', reviewed in Vital Weekly 826, Mike Fazio (who also works as Gods Of Electricity, Orcehstramaxfieldparrish and A Guide To Reason), now expands to releasing his music on other labels, across the ocean, to Ian Holloway's Quiet World label. Six pieces on this release, all recorded live 'on the beautiful morning of August 21st, 2011, somewhere in New York City', with Mike Fazio playing guitar and a whole bunch of sound effects. The reverb unit worked over-time that day, that's for sure. Six pieces of improvised guitar playing with a strong ambient character. Sometimes he plays the guitar with his e-bow and sometimes he strums a bunch of notes, but always with reverb and delay close by, and sometimes a bit too much of that. The music is quite alright, but perhaps a bit too hastily put together, too easily made with just a few guitar sounds captured in possibilities of live electronic treatment. Not bad for a live-at-home release, but perhaps there is more to this, I wondered?
FdW, Vital

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