El Camino por Adentro


On El Camino por Adentro, Mateo Ottonello tries to unite the different universes that they currently inhabit. An aesthetic that took up the synthwave of the '80s and the legacy of groups like Opa (Hugo y Osvaldo Fattoruso, Ruben Rada). The leather and organicity of candombe, the wood and improvisation of jazz, the synthesizers and the repetition of electronic music. From inspiration and challenge, he generates mantric landscapes and a strong dose of Uruguayan instrumental music. A jazz musician who is not only that, but who works in constant dialogue with various genres. A drummer who with his instrument pursues a Montevidean identity, built on candombe and jazz; and with the synthesis of electronic sounds, he builds hypnotic instrumental passages that invite the ear to venture into them. Mateo Ottonello is a talent that is no longer an open secret and his prestige among local musicians is growing and is unquestionable. The drummer, producer, and teacher has a long musical career that dates back to 2018 and is also characterized by constant collaboration and exchange with different musicians. El Camino por Adentro starts with "Regreso" that plunges you into arpeggios of guitars, percussion, and trumpets in a mysterious and candombero cadence. Seven minutes that, towards the end, "melts" between digital sounds and open the door to void. Synthetic, happy, and poppy, the song feels almost like a car ride, caressed by the wind and the sun's rays of its synths. In contrast, in "El Camino por Adentro" (featuring Hugo Fattoruso), intensity appears in all its splendor. As if wanting to leave everything, the band made up of Ignacio Correa on bass, Maximiliano Nathan on vibraphone and synthesizers, Juan Olivera on trumpet, Santiago "Coby" Acosta on percussion, and Marcos Caula on guitars, join Fattoruso to attack hard with their maximum volume and expressiveness. Together they build nine minutes of multiple parts, layers, and colors that are continued by the tension in Brujo and the relaxation in "La Salvadora". For its part, "Festejo" (featuring Hugo Fattoruso) presents music that stimulates the ears on a journey interspersed with very free keyboard arrangements. "Fue un Viento" (featuring Luciano Supervielle) closes the album with a mysterious and romantic ballad that at times recorded Angelo Badalamenti (composer of the Twin Peaks soundtrack), but here, they are staged in a Montevidean jazz song.