ne thing is for certain: this recording will engender strong reactions.
Some will agree with the liner notes1 pretentious prose, which suggests that
this collaboration between Rogers and Nicolella provides 3an electrifying
sonic network of speed and synthesis, a forty-four minute panorama of
intangible miracles.2 Others will find themselves screaming at Transit1s
dizzying drive, at such sections as the three and a half minute 3V,2 which
begins with programmed sounds resembling a recording sped up half way to
infinity, only to end with Nicolella1s electric guitar further hammering the
point home.
In Transit, composer Fitz Rogers, showing the influence of Led Zeppelin, the
Steve Miller Band, and Jim Hendrix, weds his computer-generated organs,
pianos, drums and array of fantastic sounds to the astounding musicianship
of his chosen collaborator, guitarist Michael Nicolella. Playing three
guitars, a 1998 Fender Stratocaster, 1979 Gibson Les Paul Custom, and 1954
Guild X-150 archtop, allied with various amplifiers and stompboxes, the
Seattle-based Nicolella is a virtuosic wonder.
Transit begins slowly, with several minutes of quasi-celestial
computer-generated sounds. Once the guitar enters, however, the mood
changes, as the conflict and chaos of earthbound existence rise to the fore.
The work is studded with frequently stunning juxtapositions, its
unapologetic commentary destined to either enrapture or force one to run for
cover while invoking the names of Bach, Mozart and the entire Hindu panoply.
In many ways, Transit seems an appropriate commentary on life in the 21st
century. After all, in a world where Easter night channel surfing takes you
from Charlton Heston1s Moses proclaiming God1s commandment, 3Thou Shalt Not
Kill,2 to fresh footage of Israeli politicians screaming for vengeance;
where George Bush, who stole the Presidency, condemns Fidel Castro for not
holding free elections, far more than hard driving irony and Strauss waltzes
are in order.
Parts of this virtual symphony seem ecstatic, others funereal. Its pace and
multi-layered chaos will either energize you or give you a headache. Either
way, or both, it must be heard.
ne thing is for certain: this recording will engender strong reactions.
Some will agree with the liner notes1 pretentious prose, which suggests that
this collaboration between Rogers and Nicolella provides 3an electrifying
sonic network of speed and synthesis, a forty-four minute panorama of
intangible miracles.2 Others will find themselves screaming at Transit1s
dizzying drive, at such sections as the three and a half minute 3V,2 which
begins with programmed sounds resembling a recording sped up half way to
infinity, only to end with Nicolella1s electric guitar further hammering the
point home. 