Effortlessly blending together elements of classical minimalism and chiptune, Giacomelli’s “Loose Canons 2.0” radiates joy. With sunny melodies present throughout the album the textures shimmer and shine. Reminiscent of Terry Riley’s landmark composition “In C” the entire album comes together as a satisfying swirl of sound. Infinitely memorable these are songs that present a sense of hope. By letting the many layers of sound interact ever so slowly what Giacomelli creates is a virtual sea of sound where he lets the sounds simply swim amongst each other. From this loose approach Giacomelli lets the melodies emerge organically giving the entire album a quilt-like feel, as each piece relates and builds off the last. At times the adherence to these tactile sounds feels akin to the work explored by Keith Fullerton Whitman, the emergence of the digital and the analog into a satisfying whole.
On the opener “Fanfare for Analog Circuit Board (_Loose Canons_Title Sequence)” the song builds up gradually from the smallest of sonic artifacts to become all-encompassing. “Castle Walls” opts for dreamy textures, as the piece has an airy quality to it. Serving as a multi-part suite is the ornate work of “Battle of Max Blaztum”. For “Part 1” of the suite Giacomelli lets the tension simply build up. Upon completion of the suite “Part 2” is delivered with considerably greater urgency as the sound reaches a fevered pitch. By far the highlight of the collection is the kaleidoscopic rush of color “Invincible Allegro”. Bringing the album to a satisfying conclusion is the soothing ebb and flow of “Dance of the Soiggepras, including Return to Sky City (End Credits)”.
Bright, brilliant, and beautiful Giacomelli’s “Loose Canons 2.0” positively teems with life.
By Beach Sloth