ONDA ROCK REVIEW

(...) contrasti tra delicatezza neoclassica e uniformità di drone. Non è un caso, infatti, che almeno in due occasioni nel corso dell’album si verifichino passaggi piuttosto eterogenei, rilevabili nella tonalità quasi gioiosa del pianoforte di “Bell-Ringer”, contrapposta all’ombrosità di “Birds Delight”, e nel lieve romanticismo del piano solo “Walking Distance”, speculare all’insistenza del drone trasformato in ronzio di “Skip To Exit”. Proprio il continuo dinamismo delle composizioni, che traspare per assonanza sin dal titolo dell’album, sembra la meta prefissasi da Coniglio, e conseguita attraverso un equilibrato dosaggio di loop chitarristici e post-produzione digitale, cui il retaggio classico conferisce ulteriori sfumature cangianti e un’aura capace di regalare più concreta fruibilità a sperimentazioni che non perdono mai di vista gli aspetti comunicativo-descrittivi di una musica evidentemente creata per il piacere dell’ascolto e dell’immaginazione.(more...)

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WHITELINE1 WORDPRESS REVIEW

(...) This neat release is capably handled by one Enrico Coglio ably assisted by Elisa Marzorati on piano. Whilst this release didn’t float my boat in terms of originality, it did what every ambient recording should do, and left me chilled, and suitably calmed..film music for the mind I would say, and none the worst for it. For those of you that are still looking for sonic sedation in the form of synthesised ambience..this will have your name on it. (more...)

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THE SILENT BALLET REVIEW

(...) Tension from ethereal pads and metallic accents coexist with traditional piano melodies to provide a space that is harmonious as well emotional. It is exotic but also traditional.(...) (more...)

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CYCLIC DEFROST MAGAZINE REVIEW

(...) Opening track ‘Brushwork’ features contemplative piano chords and runs layered over heavily syncopated programmed drums (from guest Rena Jones) and chilled synth atmospheres, with indecipherable spoken word samples floating in and out of the mix. However, this opening track is deceptive, as the rest of the CD dispenses with drums altogether. Coniglio says that he was freely inspired by Debussy’s piano preludes in the making of this record, and ‘Foliage’ is a solo piano instrumental which seems to hang in the air like a latter day ‘Clair de Lune’(...) (more...)

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BARCODE REVIEW

(...) Mostly based on deft piano chords - in fact three of the tracks are wholly piano pieces - Coniglio surrounds the melodic tones with a variety of ghostly ambient synthesiser passages and granular atmospheres. The results inflict a variety of subtle emotions, but many of the tracks do tend to drag on a bit. In all honesty it’s the sole piano pieces, such as the lovely, Budd-like Foliage and wandering Bell-Ringer that light up the album most. I guess they would not be as effective if not cocooned by the drifting drones of much of the surrounding music. Therefore this is an album that needs to be listened to in its entirety to garner full satisfaction. (...) (more...)

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MORPHEUS MUSIC REVIEW

(...) This is the second album on Psychonavigation Records from Venice based guitar player/composer Enrico Coniglio following a series of earlier releases. Here the artist further develops his interest in ambient electronica - his muted environmental creations minimal and evocative - suggestive motes and minutiae crawling in the depths. Yet the introduction of Elisa Marzorati's piano playing completely transforms the overall tenor of the collection - his soundscaping illuminated by her grace, her fingering haunted by his static and gloom. Add to this some drum programming from Rena Jones and a couple of well chosen samples including one from Robert Fripp and you have a truly stand out album. (more...)

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LOOP REVIEW

Italian artist based in Venice Enrico Coniglio, on programming, sampling and looping alongwith Elisa Marzorati on piano released his second album on the Irish label Psychonavigation Records.
‘dyanMU’ is a project that started in 2006 between these two artists and also collaborates multi-talent Rena Jones on drum programming and synths.
In 1996 Enrico Coniglio participates in several rock and psychedelic bands and since 2001 he started his solo recordings. On the other hand Elisa Marzorati is a classic trained musician.
Coniglio delivers abstract soundscapes whilst Marzorati plays beautiful piano notes. (more...)

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TEXTURA REVIEW

(...) Representative of the paired pieces, “Brushwork” accompanies dancing piano notes with a lightly galloping percussive rhythm and waves of high- and low-pitched synth tones. In “Mothlight,” Coniglio's vibrant electronics take center stage with Marzorati providing peripheral enhancements. Ample spaces separate the piano chords in “Cableway,” suggesting the huge expanse traversed by the cable car's trip, while the droning tones echo resonantly throughout the cavernous open space. Coniglio's haunted moodscape “Birds Delight” evokes mystery and unease as willowy tones and bass throbs seemingly drift through the corridors of a long-abandoned building. The focus shifts to Marzorati in the lovely “Foliage,” which nurtures a tranquil and dreamy mood, and “Bell-Ringer,” whose bright and vibrant piano melodies are in keeping with its title. (...) (more...)

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www.artistsandbands.org REVIEW

(...)Brani dai tempi lenti e dall'incedere liquido come ad esempio Cableway, Foliage, Bell Ringer o Walking Distance con il piano lento e quieto conduttore ci fornisce una visione più acustica e melodica ed al contempo meno elettronica del medesimo senso di distacco e si alternano a brani in cui è la sperimentazione e la libera improvvisazione elettronica la linea dominante, brani come la lunga Bird Delight, Skip to Exit o Loss, basate quasi interamente sulle sonorità sintetiche di Enrico, regalano sensazioni alienanti e drammatiche, una fuga, un distacco che invita al pensiero ed alla riflessione. Brushwork rappresenta invece il culmine, il punto di risalto di questo connubbio elettronico-acustico, ottimo brano dal ritmo sincopato e robotico, quasi post-industriale, che si segnala come perfetto punto di incontro, complemento e completamento dei due artisti. (...) (more...)

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TOKAFI REVIEW

(...) This is also why his fifth album, a collaboration with Swiss-born pianist Elisa Marzorati, has such a completely natural ring to it. “Freely inspired by the piano Preludes of Claude Debussy”, it says, but the smell of pretentiousness which easily pervades such lines is softened by the fact that this is truly the meeting of two musicians who enjoy reaching out beyond their own nose and who have finetuned the details of their vision over the course of more than a full year – “dyanMU” is not only the album title, but the name of their joint project as well, a “meeting between two artists coming from very different traditions. (...) (more...)

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THE VIBES REVIEW

(...) Una potente immagine che sintetizza l'incontro fra la musica classica e quella elettronica, intersecate in vari modi nelle undici tracce del disco, secondo una rivisitazione dei canoni divenuti quasi un dogma introdotti da musicisti come Brian Eno (con la sua ricerca sonora nella cosiddetta "musica ambientale", ovvero musica atta a "descrivere" un ambiente senza il ricorso delle parole o di rigidi schemi classici, e al contempo a far parte dell'ambiente in cui h suonata) o Robert Fripp (pertinente la citazione in Timepiece di The Outer Darkness, una dei lavori piy "miltoniani" del suo repertorio) filtrata dalla logica della preservazione dell'"errore" alla base del glitch. Conforme ad una confluenza che ha ripreso a risuonare nelle sale da concerto e nei salotti di molte cose con sodalizi come quello fra il noto pianista Ludovico Einaudi e Robert Lippok (una gamba dei To Rococo Rot), ma propenso a quella cinefilia e alle immagini mentali prodotte da musicisti come Fennesz o lo stimato pianista anglo-tedesco Max Richter, dyanMU sposta l'ago del bilancino di precisione verso esperienze sonore che ben si adattano anche a spleen emotivi da cameretta, riuscendo nel corso degli oltre 40 minuti di riproduzione a dare l'illusione che le lancette dell'orologio si fermino. (...) (more...)

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'The Ticket' part of the The Irish Times newspaper

(...) Italian electro-ambient composer Enrico Coniglio's second release on the fine Dublin Psychonavigation label sees him team up with Swiss-Italian piano virtuosa Elisa Marzorati. It was Marzorati's 2006 recording of Debussy's 24 Preludes for Solo Piano that inspired dyanMU's experimental mingling of impressionistic (and sometimes sassily jazz-inflected) piano figures with minimalist loops, samples and drones. (...) (more...)

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GOTHTRONIC REVIEW

(...) If you compare this release to for example the collaboration between Alva Noto and Ryuchi Sakamoto, "dyanMU" is accessible to a way larger audience. On the one side this is because of the less incoherent way she plays piano, but it's definitly also because this release contains less weird and hurtful frequencies. But concerning the amosphere, both collaborations are quite close to eachother. (...) (more...)

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FOTO dyanMU

CD dyanMU