Customer Reviews

Cloudland

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Whitetree is Italian pianist Ludovico Einaudi and To Rococo Rot's German brothers Lippok (Robert and Ronald). The circular sonic sculpting present on most To Rococo Rot (or Ronald's other project, Tarwater, for that matter) is subordinate to the piano on "Cloudland." With the right- and left-hand of the piano progressions carrying both rhythm and melody, the bulk of the Lippok brothers' work is resigned to atmospheric underpinnings. As a package, it's tasteful and non-intrusive to a fault. The quiet storm of the lovely cover image never materializes.

Where the collaboration bears the most fruit, as on the second track "Kyril," there is an electro-acoustic sensibility at work that is pregnant with not-quite-realized potential. As a collaborative work "Cloudland" is a wee bit gossamer -- despite its earnest desire to mesh the piano into a bed of softly insistent organic-sounding electronics, the piano chords -- gentle as they are -- never take the backseat. Which leaves us essentially with an Einaudi solo recording leavened with some understated production flourishes. It's a mildly interesting solo piano work, though not gripping or texturally adventurous as one might wish from this particular team-up.

You'd be complimented on your flawless taste if you played this at low volume at a dinner party, however more focused listening leaves me yearning for Tarwater's "The Needle Was Traveling," or To Rococo Rot's more successful collaboration with turntablist i-Sound and violinist Alexander Balanescu, 2001's "Music Is A Hungry Ghost."

While this piano work poses as ambient and minimalist, it dwells within the George Winston hollows, though gratefully free of the tweeting birdies and crystalline curlicues. The few instances of sound that occur beyond the instrument -- processed or audio-file play that extend the timbral character or modify the natural decays -- are typically pretty obvious and familiar, and rarely interact with the principal playing. That can be interesting, but in this case more often than not the end effect is basic sandwiching. The mayo might eventually get into the ketchup, but both end up resisting the pickle. Which is fine: the music here is pretty and tonal and generally made of rhythmically hammered-out and eager-to-please chord progressions that are piano and forte and predictable, accompanied by the odd chime, some underscoring with low-end percussion, tasteful (wait for it) pauses, turns and strokes. All together the cumulative effect is perhaps too familiar, too reassuring without discounting a high measure of professionalism that remains polite enough not to linger too long. First to last, "Cloudland" turns out to be a mostly heavier-than-air affair. If you're expecting something more experimental or innovative, work over your own perception first by having a few drinks.

I heard one of the songs on the radio and I impulsively bought it, because at the time it was wonderful. When I listened to it after buying it, it seemed a little blase'...but maybe I need to give it another chance...music strikes me differentley when i am in diferent moods sometimes..If you want something really great..give a listen to "Mamer, the name of the cd is eagle.

Ludovico Einaudi comenzó su asociación con los hermanos Lippok en 2006.
Después de una exitosa gira en pequeñas salas de concierto, ha visto la luz este CD.
La línea melódica la lleva Einaudi al piano, acompañado por los suaves arreglos electrónicos y la percusión.
Un disco para escuchar hacia la medianoche, aprovechando el silencio en la gran ciudad.