Engaging review of DJ Rocca‘s album, The Infinite Ladder / 2BLUE Reworks, published by Paolo Bertoni in Blow Up January 24 #308, currently available in stores. Remember that the CD version of the album is available on our Rizosfera website at this web address https://rizosfera.org/shop/nukfm018/cd-a5-digipak/. We thank Paolo Bertoni and Blow Up for their support to our artistic trajectories at Rizosfera-NUKFM and Armcomm Europe.
Here’s the text of the review: DJ ROCCA The Infinite Ladder • CD Rizosfera/NUKFM • 7 tracks – 61:12 “As DJ Rocca, in addition to collaborations with Daniele Baldelli and Dimitri From Paris, last year released a triple CD with the renowned jazz musician Franco D’Andrea, Luca Roccatagliati had already released a solo album, “Isole,” in 2019. “The Infinite Ladder,” the title is that of the photograph by Ian Simmonds on the digipack cover, takes inspiration from the experience with Enrico Marani as 2Blue, who in the first half of the ’00s had signed “Fattore sonoro,” a translation into sounds of Andrea Chiesi’s paintings, and “Light Transmission.” The reworking is as free as it is radical, and although there is the subtitle ‘2Blue Reworks,’ there is nothing of the rhythmic component that characterized especially the second disc. The entire work unfolds in a groove, as it is defined, ‘disambient,’ with individual pieces that are ideally baptized moving with a decade-long rhythm. 1984 was also in the tracklist of “Light Transmission,” starting from 1974, where, between the dreamlike and sci-fi haziness, reverberating sounds in delay bounce in an immobile air, reaching 2034, specifically the episode with the most evident futuristic trait. In today’s 1984, in the substance of ambient plot, cinematic horror unease is not spared, 1994 is captivating, with minimal dub refractions and melodic hints clinging to vast spatiality, in 2004 an isolationist fixedness seems to accompany a drifting spaceship in a post-apocalyptic scenario, expanding in 2014 to touch the requiem, with contemporaneity represented by 2024 painted instead more abstract and elusive. [7.5]”
