‘Volume Massimo’ marks a more pointed, melodic evolution of Cortini’s sound without losing sight of what made his solo work so gripping in the first place. It’s also worth noting the striking resonance of this new record with his work in NIN, as the relatively tighter, pop-wise arrangements feel to condense the wider arcs of his previous records into more concise structures that strongly recall the band’s harmonic aura, while the addition of textured guitars and pulsing undertow make it all sound a bit like NIN wrung thru a psych folk filter and produced by Pye Corner Audio. Leading on two years from Cortini’s ‘Avanti’ LP and following a pair of 2018 collaborations with Lawrence English and Merzbow, he strips it all down to fundamentals on ‘Volume Massimo’ with a typically precise approach to the qualities of tone and texture in his music. In eight parts he coaxes his classic analogue synths and Fender and Ibanez guitars to copulate in loving, writhing formations of rhythmelodic cadence where melody and rhythm are inseparable, equally balanced sides of the same equation. The LP’s first side lures us into this intoxicatingly dense yet minimalist aesthetic with the quietly engrossing synth chatter of ‘Amore Amato’ , which builds to a heart-swelling peak before calving off into the furtive cinematics of ‘Let Go’ and a massive highlight in the bittersweet romance of ‘Batticuore’ at the album’s core. That song feels like watershed for the rest of the LP, as ‘Momenti’ stealthily brings the underlying, lysergic folksiness to the fore and in a jangling coda, while ‘La Storia’ pushes that rustic ruggedness farther into a sort of kosmiche wilderness, and, ultimately, to crawl thru the cave systems of ‘Sabbia’ and the burned out sleep tone of ‘Dormi.’
