Italian producer Dino Sabatini's second full-length arrives on his own label, Outis Music, and is the first in a series he's planning called "Opera." Details on the series are thin, except that it will focus on "timeless music free of boundaries or schemes." If Omonimo is any indication, though, Sabatini intends to explore styles outside of the severe techno he's made a name for himself with until now.
This is a chill-out album; its slow tempos and sparse melodies invite the listener into meditative or dreamy states, and the inclusion of a mixed version of the album helps in this regard. While this is a significant change in genre and pace for Sabatini, he retains throughout his predilection for icy atmospheres and high levels of dramatic tension.
On "The Unexpected," ominous bell tones and a high-pitched synth whimper are undercut by a taught, simple beat, while "It's My Forest" uses world percussion elements, hypnotic synth bleeps, and faint, airy pads to create a sense of calm.
The production skills on display on Omonimo are admirable, and a close listen reveals minutiae that might be missed if the listener only puts it on in the background. But overall it comes off as a little too polished, lacking edge and safely avoiding risks (with the exception of the album's final minute, which features a jazzy cascading piano solo courtesy of guest player Antonello Salis). Omonimo is certainly respectable as a mood-setting soundtrack, but not very far beyond that.
(Outis Music)This is a chill-out album; its slow tempos and sparse melodies invite the listener into meditative or dreamy states, and the inclusion of a mixed version of the album helps in this regard. While this is a significant change in genre and pace for Sabatini, he retains throughout his predilection for icy atmospheres and high levels of dramatic tension.
On "The Unexpected," ominous bell tones and a high-pitched synth whimper are undercut by a taught, simple beat, while "It's My Forest" uses world percussion elements, hypnotic synth bleeps, and faint, airy pads to create a sense of calm.
The production skills on display on Omonimo are admirable, and a close listen reveals minutiae that might be missed if the listener only puts it on in the background. But overall it comes off as a little too polished, lacking edge and safely avoiding risks (with the exception of the album's final minute, which features a jazzy cascading piano solo courtesy of guest player Antonello Salis). Omonimo is certainly respectable as a mood-setting soundtrack, but not very far beyond that.