A sprawling, experimental piece running for all of forty four minutes, Andrea Remondini’s Non Sequitur is a wonder-filled experience laced with world music influences. There are enormous crossover points to be found along the way, with the Air-like basslines and spooky choral lines, and the underlying straight-rock sensibilities that hold the entire composition together. From a prog perspective, it’s suitably ambitious – particularly as it is presented as one full piece rather than dissected into its various movements. By delivering Non Sequitur in this way, it demands more of the listener, putting more expectation that it should be listened to and engaged with in its entirety. Certainly, this is a more beneficial way of listening. Just like the extended drones of Eliane Radigue and Rhys Chatham require a commitment to the long haul, and Glenn Branca’s single chord based jams held the listener’s attention, in the same way Andrea Remondini’s composition ebbs and flows, shifts and morphs continuously, while all the while retaining the same motifs throughout.
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Non Sequitur is a challenging yet engaging and satisfying piece of progressive instrumental world music, deserving of a listen by anyone even slightly interested in a wider range of music and looking for ways to broaden their horizons.
By Chris Marsh