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Stearica: Oltre


I didn’t expect to feel such affection for and from Stearica’s Oltre so quickly, but it happened: upon first full listen, I emerged effusively wordless. But, that’s ok—Stearica’s music seems to be about stunning you more so than anything else, anyway.

On their 2007 full-length album, Oltre, the Italian instrumental Progressive/Noise Rock trio, Stearica, made the kind of music you want to listen to intently, not because it’s complicated, but because of how it makes you feel: as you lean in to it, Oltre immerses you in a kind, breezy, and purposeful sonicsphere—one that is compelling and gentle, one that enraptures with its unmussed metallic and indie-rock qualities, with a lightness and breathing room, through which the band’s glints of melody and noise resonate and ring.




The songs on Oltre make full use of both acoustic and electric guitars, mods and effects, and sax and strings to slowly build long-resonating aural atmospherics. And while each track deserves its own dissertation, suffice it to say, I could listen to Oltre constantly, and never find the right things to say.

What I will say, however, is that the chords and colors cultivated on Oltre made me realize how hard it is to express how well-done this music truly is—every corner and crease was considered, brought into being. And in its uncomplicated simplicity, its quirks are well-tempered by Stearica’s fuzzed-out finesse—perhaps telling of the band’s Italian background, where aesthetics matter as much as technicality, and where craftsmen ship is expressed in the fine detail of their work.

Favorites tracks include, "Beyond the Red Balls I’ve Heard Gold Bulls,” where a piano calls open the sentiment, and harmony prevails among the quiet. The track truly blossoms as the guitars begin to open with indie rock hues— these driving harmonics strummed with a light touch of dramatic for a truly evocative experience. The song also presents saxophone, as Stearica builds on the constant crescendo with rattling fuzz and hum in the last third.

Save for the name, "The King of Assholes,” makes me smile—the grinding electrics of guitar work and gritty late-90s Crystal Method-style deep dub pulse that underlines the tune is undeniably enjoyable.

“22 August” feels good going down; flute flutters sweeten the deal, as piano and other aural acoutrement give the song its cool, moody palate.

“21 August,” which quixotically follows “August 22" on Oltre, is open and free, as ascending melody floats above the din—chords capture the harrowingly and hauntingly beautiful sentiment cello then makes tangible at track’s end.

And on “Occhio” an MC prattles in the deep thick of the track, claiming the song’s inventive urban beats and noise-blushed beauty.

Texturally, while each track on Oltre is different, each song fits well into the entire collection. An air of sophistication on Oltre, which is neither intimidating or selfish, offers its evocative qualities as strongly engaging yet reserved notes, chords, and arrangements.

At times, Oltre calls up resemblances to Fugazi’s Instrument soundtrack at times, with some deeply effective, deeply felt aches of beauty. Yet in the formlessness of the songwriting on Oltre, Stearica incorporates myriad components that harmonize without compacting into aural density—allowing each adornment to express and sing without augmenting its uniqueness.



In my initial notes on Oltre, I’d written “Given a couple of listens, I could fall in love with this…” Later in this day, I’m ready to proclaim, I am in love this.

Oltre was released in 2007 and you can check out samples of the songs on YouTube here; Oltre can be purchased via Dunken Records here.

More information on Oltre can be found on the band’s official Website at www.Sterica.net.

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Tags:  Stearica     

    May 27, 2017

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