Ninni Morgia “Ladyboy Sonata”
[UM013] Ninni Morgia “Ladyboy Sonata” CS / DL
Thirty minutes of guitar delirium from Italy’s finest avant guitarist. Morgia starts off in his own unique warped way, with a noise psych intro filled with fiery bendings and his signature wild distortion. Then the guitar gets modulated until it’s filtered and thinned out to a hammering, hypnotic cicada chant. It’s a Kafkian nightmare, and when the guitar is reduced to bits, it feels like it’s emitting its last cries of help, like Solmania’s face-cutting licks, or better, like a windy February night walk in NY. Morgia’s guitar work resembles the extended techniques applied to trumpet by Peter Evans and Axel Doerner, both in terms of dynamics and research, especially in richness, clarity and overtones, and also in a beyond-limits live performance (there are no overdubs on any of his recordings). Pro-dubbed imprinted black tapes with a foxxy Ninni on the cover. Edition of 100.
Also comes in a numbered limited edition of 9: same packaging but housed in stenciled ladyboy cardboard boxes by SK:
QUESTIONS
FREAKCORE (excerpt)
Following his duo record with Marcello Magliocchi, here is now a solo cassette by guitarist Ninni Morgia. Like on that LP, Morgia is an improviser, but with a rock(ist) attitude: his music is quite loud, due to the extensive use of sound effects (modulation, distortion), played with objects on the strings with a great sense of energy. Sometimes he takes back what he is doing and gets a bit more quiet, but even then his music remains a razor sharp thing with loud sounds. Quite wild, sometimes reminding me of some Japanese music, such as KK Null or Solmania on ‘Vomit Reflex’. It reminded me of the music of Lukas Simonis, solo and with his various impromptu duos. I can easily imagine a dueling guitar battle between these two. This is some powerful thirty minutes. Frans de Waard / Vital Weekly 802
Busy, barbed-wire solo outing by this Brooklyn free rock guitarist. His technique is pretty interesting, and this cassette is free from some of the bland overload you generally expect with extended solo improvisations. He does a lot of baffling note suffocation and chocking that ends up being real damn intriguing. And when things do explode they don’t even always sound like guitar. Hep. Byron Coley, The Wire #335, January 2012
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