REVIEWS

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EDITOR'S PICK

I listened to this album three times in a row all the way through and each time noticed new and interesting bits. If you ever had to have a definition of what a soundscape is it would be this album. Filled to the brim with a variety of styles ranging from trip-hop to flamenco to surf to electronica to even spy, Oscuro has consideration for album of the year. Getting their name from the Spanish word for dark or noir, Oscuro is the work of filmmaker, guitarist, musical genius Steve Denny. His compositions are both unique and scarily influential; I would hear something in one of the songs and rush to said instrument and try it out. If you buy one album this fall, this is the one that should top your shopping list. - J-Sin

Ampersand Etcetera

Oscuro is Steve Denny on guitars and sonic landscapes, with a little assistance from a couple of drummers, horn on one track and symphonic accompaniment on two. There are samples scattered throughout - repetition of " L.A. " here and there provides continuity after its introduction in "Daigoro." The second track which succeeds a brief percussive and synth-horn "Intro." From here on we get a broad range of styles and moods: slow beat and safari guitar on this one, pulsing and swirling "Ragafari," light airy and lyrical "Phantasma," fast Spanish appropriately for "Spanish Holiday." And so on. They are joined by rhythms tones and loops that do create broad soundscapes and support the guitar. More indicators - "Somewhere Near Morocco" is snaky and Spanish, with a Wakeman sound to some of the keys, "Riviera" is fast and a summer hit, "Triana" includes site recordings, mysterious synth horns and slow guitar.

There are some Western moments - "Sombras" with sinuous horns, slow guitar and voice, with horse neighing, similarly in "Tyme Travel." A suite of tracks towards the end are somewhat united, but not more so than the overall album, and includes the pastoral "Axiom." And it all ends in " 12:09 " with long loop tone effects.

Instrumental albums, especially varied ones, are difficult to convey (but, hey isn't everything!). This is atmospheric and evocative - easy listening if that hadn't gained negative associations. Anyway, a pleasure for the ears, relaxing and transporting.

DELUSIONS OF ADEQUACY

Steve Denny is a busy guy, or at least a prolific one. The filmmaker and guitarist has his name included on the credits of artwork of all varieties, with the musical realm taking priority for the moment. It isn't often the same man releases two albums at once, but here we go.

Let's discuss Oscuro first. In these contemporary instrumental wanderings, Denny is completely on his own, showing a set of musical styles that includes flamenco, trip-hop, space, surf, spy, techno, and groove-oriented rock. The album was actually constructed from the substantial amount of remaining material Denny had composed, recorded, and mixed when working on Bliss of a Madman . He built the songs by taking his unique guitar style and complimenting it with a variety of samples that range from symphonic to industrial.

And up next is Magic Box first. What we have here is a contemporary instrumental album that reflects influences that include rock, classical, jazz, avant-garde, ambient, Middle Eastern, and trance. It is the creation of Denny and his friend maxwellvision, a visual artist and musician also known for his work as part of The Blue Hawaiians. The two men joined forces to create musical montages to accompany the work of fine artist and performance painter Norton Wisdom at his live exhibitions. Bliss of a Madman takes the results of those free-form jam sessions and assembles them into one cohesive musical narrative.

Both discs rely heavily on mind-boggling samples and sounds, all of which are melted together in a way that you would expect to create some utterly incomprehensible results. But instead, the sounds that come pouring out at you are almost sexy, in an eerie and hypnotizing sort of way. Both discs are also rather moody, switching from breezy and atmospheric to dark and brooding to pulsating and danceable with little notice, but almost always without feeling disjointed. The flow of these albums, both as separate items or placed side by side as one gigantic listening experience, is remarkable. For all of the ground covered within them, the fact that they sound so cohesive is astounding.

There are a few noticeable differences between the two discs. For example, Magic Box is a bit subtler about what it is trying to so, but just a little bit. As a result, it is not necessary less energetic, but rather more capable of slipping you into a deep trance. Oscuro, on the other hand, is dominated a bit more frequently by the sort of beats that make it difficult for the listener to sit still, but goes down just as smoothly as its partner. The sounds on this album are a bit less sedate, a bit more seductive.

What it all boils down to is that here you have two albums worth of sprawling instrumentals suitable for many moods. Whether you need something to listen to with headphones on and lose yourself in, or you just want something to play in the background as you go about your business, these just might be what you are looking for.-Eddie 11/3/03

RAZORCAKE MAGAZINE

Moody, atmospheric instrumental music that would no doubt compliment your average indie film quite nicely. -Jimmy Alvarado

SPLENDID EZINE

Steve Denny is the tall dark stranger behind Oscuro , a haunting solo effort populated with fuzzed-out Spanish guitar, skilled sampling, brooding synth and the occasional symphonic arrangement. If desperadoes listened to Enya, this is what they'd wish that she sounded like.

Instrumental albums often simply default into background music, or else they are the product of self-indulgent noodling, knowing nothing of boundaries and born into a world where nobody loves them but their creator. Oscuro falls into neither trap. It is textured, engaging and draws the listener in rather than forcing itself upon them.

Clapping, Flamenco and brooding synth confront the listener in "Spanish Holiday". A driving rhythm, full drums and skilled poly-tonic guitar work take us on a hajj in "Somewhere Near Morocco". Choppy spy lurks behind pretty keys on "Suspencia", and horses have their say in "Sombras".

Overall, the album boasts great production values and demonstrates a keen attention to detail. It showcases a wide variety of influences and styles, but always finds its way back to its unifying principal: Spanish-influenced guitar work. Slow, languorous, dark and sensual, Oscuro will take you for a ride. - Jay Forman

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