During my interview with Jon Gomm we got to talking about other guitarists, and when Pino Forastiere came up, he referred to him as one of a few guitarists he considers to have “perfect technique.” After listening to From 1 to 8 I can see why.
From the first notes of “Studio n.1″, I was taken aback by Pino’s subtle and nuanced playing. It sounds like he gives great thought to every single note and how it should be played. The result is a very fluid and colorful sound which gives depth and life to the compositions.
It reminds me of another guitarist with such wonderful technique: Michael Hedges. And Hedges’ influence is very obvious in Pino’s music. At times the studies remind me very clearly of his songs. For example, there’s a part in “Studio n.3″ that recalls the middle section of “Aerial Boundaries”. And “Studio n.5.” has the same floating yet propulsive pulse of “Spare Change.”
But this is far from being a meer copy of Hedges’ music — Michael’s influence is just a part of the greater whole that is Pino’s musicianship. The compositions show his deep classical background, and just like his technique, go through many colors and moods. I especially like the three-movement “Studio n.8″, where he uses multi-tracked guitars to create a complex texture of interweaving melodies.
This isn’t music to casually listen to while you wash the dishes. This is beautiful, sophisticated music, meant to be listened to with eyes closed and headphones on, requiring a few listens before you really start to appreciate it.