Mai Mai Mai
Rimorso
Boomkat Product Review:
Toni Cutrone's latest is described as his "Mediterranean gothic album" and is steeped in history, memory and Italian folk traditions. Includes contributions from Nziria, Mike Cooper, Youmna Saba, Maria Violenza and others.
Roman noise veteran Cutrone has long used historical themes to inform his musical experiments; his first Mai Mai Mai albums were named the "Mediterranean Trilogy" and explored Cutrone's relationship with his ancestral landscape. 2019's 'Nel Sud' continued this mode of research, examining Italian ethno-documentaries of the 1960s and '70s to journey into a forgotten Italian south, and "Rimorso" might be his most challenging and rewarding set to date. This time around, he's assembled a gifted crew of collaborators to help realize his vision, eschewing the sample-based techniques of his earlier records in favor of the human element.
It's not long before we get a sense of Cutrone's scope either - on 'Fimmene Fimmene', he recontextualizes a protest chant from Salento's indentured tobacco workers, sung by Italian vocalist Vera Di Lecce. The producer accompanies Di Lecce's hypnotic voice with driving, ritualistic percussion and unsettling FM synths, creating a mood that's between dream pop and archaic Mediterranean folk. Never Sleep's Nziria steps in to assist on the technoid 'Musica Nova', chanting thru a slippery, synthwave interpretation of Musicanova's 'Pizzica Minore', while Beirut-born Youmna Saba brings a startling presence to 'Nostalgia', singing in Arabic over Cutrone's uncomfortable electronic distortions.
Cutrone's skill here is his ability to create a musical atmosphere that completely reflects his concepts: from beginning to end, "Rimorso" feels like an academic historical investigation, and one that's able to bend a fractal array of influences into a coherent artistic narrative. The DNA of industrial noise music is never far from the surface, but Cutrone injects it into daring templates.
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Boomkat Product Review:
Toni Cutrone's latest is described as his "Mediterranean gothic album" and is steeped in history, memory and Italian folk traditions. Includes contributions from Nziria, Mike Cooper, Youmna Saba, Maria Violenza and others.
Roman noise veteran Cutrone has long used historical themes to inform his musical experiments; his first Mai Mai Mai albums were named the "Mediterranean Trilogy" and explored Cutrone's relationship with his ancestral landscape. 2019's 'Nel Sud' continued this mode of research, examining Italian ethno-documentaries of the 1960s and '70s to journey into a forgotten Italian south, and "Rimorso" might be his most challenging and rewarding set to date. This time around, he's assembled a gifted crew of collaborators to help realize his vision, eschewing the sample-based techniques of his earlier records in favor of the human element.
It's not long before we get a sense of Cutrone's scope either - on 'Fimmene Fimmene', he recontextualizes a protest chant from Salento's indentured tobacco workers, sung by Italian vocalist Vera Di Lecce. The producer accompanies Di Lecce's hypnotic voice with driving, ritualistic percussion and unsettling FM synths, creating a mood that's between dream pop and archaic Mediterranean folk. Never Sleep's Nziria steps in to assist on the technoid 'Musica Nova', chanting thru a slippery, synthwave interpretation of Musicanova's 'Pizzica Minore', while Beirut-born Youmna Saba brings a startling presence to 'Nostalgia', singing in Arabic over Cutrone's uncomfortable electronic distortions.
Cutrone's skill here is his ability to create a musical atmosphere that completely reflects his concepts: from beginning to end, "Rimorso" feels like an academic historical investigation, and one that's able to bend a fractal array of influences into a coherent artistic narrative. The DNA of industrial noise music is never far from the surface, but Cutrone injects it into daring templates.
Boomkat Product Review:
Toni Cutrone's latest is described as his "Mediterranean gothic album" and is steeped in history, memory and Italian folk traditions. Includes contributions from Nziria, Mike Cooper, Youmna Saba, Maria Violenza and others.
Roman noise veteran Cutrone has long used historical themes to inform his musical experiments; his first Mai Mai Mai albums were named the "Mediterranean Trilogy" and explored Cutrone's relationship with his ancestral landscape. 2019's 'Nel Sud' continued this mode of research, examining Italian ethno-documentaries of the 1960s and '70s to journey into a forgotten Italian south, and "Rimorso" might be his most challenging and rewarding set to date. This time around, he's assembled a gifted crew of collaborators to help realize his vision, eschewing the sample-based techniques of his earlier records in favor of the human element.
It's not long before we get a sense of Cutrone's scope either - on 'Fimmene Fimmene', he recontextualizes a protest chant from Salento's indentured tobacco workers, sung by Italian vocalist Vera Di Lecce. The producer accompanies Di Lecce's hypnotic voice with driving, ritualistic percussion and unsettling FM synths, creating a mood that's between dream pop and archaic Mediterranean folk. Never Sleep's Nziria steps in to assist on the technoid 'Musica Nova', chanting thru a slippery, synthwave interpretation of Musicanova's 'Pizzica Minore', while Beirut-born Youmna Saba brings a startling presence to 'Nostalgia', singing in Arabic over Cutrone's uncomfortable electronic distortions.
Cutrone's skill here is his ability to create a musical atmosphere that completely reflects his concepts: from beginning to end, "Rimorso" feels like an academic historical investigation, and one that's able to bend a fractal array of influences into a coherent artistic narrative. The DNA of industrial noise music is never far from the surface, but Cutrone injects it into daring templates.
Boomkat Product Review:
Toni Cutrone's latest is described as his "Mediterranean gothic album" and is steeped in history, memory and Italian folk traditions. Includes contributions from Nziria, Mike Cooper, Youmna Saba, Maria Violenza and others.
Roman noise veteran Cutrone has long used historical themes to inform his musical experiments; his first Mai Mai Mai albums were named the "Mediterranean Trilogy" and explored Cutrone's relationship with his ancestral landscape. 2019's 'Nel Sud' continued this mode of research, examining Italian ethno-documentaries of the 1960s and '70s to journey into a forgotten Italian south, and "Rimorso" might be his most challenging and rewarding set to date. This time around, he's assembled a gifted crew of collaborators to help realize his vision, eschewing the sample-based techniques of his earlier records in favor of the human element.
It's not long before we get a sense of Cutrone's scope either - on 'Fimmene Fimmene', he recontextualizes a protest chant from Salento's indentured tobacco workers, sung by Italian vocalist Vera Di Lecce. The producer accompanies Di Lecce's hypnotic voice with driving, ritualistic percussion and unsettling FM synths, creating a mood that's between dream pop and archaic Mediterranean folk. Never Sleep's Nziria steps in to assist on the technoid 'Musica Nova', chanting thru a slippery, synthwave interpretation of Musicanova's 'Pizzica Minore', while Beirut-born Youmna Saba brings a startling presence to 'Nostalgia', singing in Arabic over Cutrone's uncomfortable electronic distortions.
Cutrone's skill here is his ability to create a musical atmosphere that completely reflects his concepts: from beginning to end, "Rimorso" feels like an academic historical investigation, and one that's able to bend a fractal array of influences into a coherent artistic narrative. The DNA of industrial noise music is never far from the surface, but Cutrone injects it into daring templates.
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