Earlier this year, I reviewed a 2013 release from Brazilian artist, Cristiano Varisco, namely Aline, which I thoroughly enjoyed. You can see this by clicking on the button below.
He has now released his fourth instrumental album, the appropriately named IV, and it is available via Oob Records https://oob-records.com/artist/cristiano-varisco/ and you can also view it on YouTube at https://www.youtube.com/watch?v=174jG0QOdKg
The album is his tribute to cinematic film music, inspired by the grandeur of the big screen.
We have fifteen relatively short pieces of music on this album, and I will embed a couple of the videos to acquaint you with it.
From the off, you are reminded that Varisco is a talented musician. The jazz-infused guitar and bass on Emergency Exit light, sunny, and roaring along at a fair old pace, with some suitably urgent percussion work underneath it all.
Paradoxo is a darker piece which is, to these ears, inspired by Oldfield’s first Tubular Bells, and stands positive comparison. It is embedded below.
Tempo III counts out the time, and it takes me back to my childhood listening to some of the classic BBC children’s show theme tunes – as a Brazilian, I somehow doubt that Varisco will have heard of any of these. What I mean here is in terms of the lightness of touch of his guitar work, the sense of innocence reaching my ears. I really like this short piece.
O Lago dos Afazeres II (Lake of Chores II) is a joyful piece, the acoustic guitar leading the charge before the whole thing takes a heavier turn, ghostly guitar and thudding bass alongside urgent percussion, and when this calms down somewhat, we have a procession of notes marching as in a military parade.
Banana Flower is embedded below, a lovely pastoral opening passage, the dexterity of the acoustic guitar at the start impressive, before we then get a curious mix of the traditional Portuguese dance and the heavier side with guitar, bass, and drums rocking out the foundation. As we close, an homage to early Gilmour is evident. Interesting, for sure.
Parece ser Simples (It Seems Simple) is the longest track here at over six minutes long, and the closest thus far to a recognisable progressive folk track, a lovely fusion of traditional South American music alongside the type of sounds Paul Simon was experimenting with in the early ‘70s, bluegrass, Americana in full tilt, traditional European music, and, to close, a bona fide classic rock burst. The bass melodies at the heart of this are delightful. The title might seem simple, but the music is anything but, a veritable smorgasbord of sounds and influences. This is a genuine instrumental highlight of 2025.
A grande enchante de 2024 (The Great Enchantment of 2024) is, well, enchanting, the accordion and acoustic guitars acting in perfect harmony, some quite complex notes and timings coming out here, so, again, satisfying the progressive music man inside me, but in a roots setting, a song which has a gorgeous lightness of being at its heart. Delightful.
Xylocopa Suspecta is a species of bee, and from the sound of this, it is angry and wants revenge for an attack on its hive or sense of being, the riffs here exuding genuine menace. This study of animal behaviour is great and is embedded below for you to enjoy. Let that bass wash over you.
Mr. Green Giving Life For is a jazz fusion delight, that bass guitar once again rumbling so deeply, some good skins work, the guitar combos working nicely in a piece which puts me in mind of sitting by the beach, allowing the locals to wash past you, they frenetic, you calmly observant.
Narration is a very short piece, the spoken word against rain and a ghostly guitar.
Hexagonal is another relatively long piece over five minutes long, a track infused with funk rhythms, this track being yet another example of why readers of this review who live for classy bass guitar work should absolutely check IV out, it taking the lead with chords and a lightness of touch on (I think) a Gibson overlaying the fusion rhythm beneath.
Santa Cecilia was a Roman Christian virgin martyr, and is the patron saint of music and musicians, and this beautiful piece of music is a gorgeous homage to her, more stunning bass melodies beneath the lush acoustic guitar layers, the melody being led by accordion, in a track which is so well produced. This folk track is a joy, and it is also embedded below for you.
Untitled is another very short piece, but interesting in a ruminating sort of way, notes and chords drifting along in a dreamlike state.
The penultimate track is Circus, the excitement of the animals (elephants are especially prominent), clowns, trapeze, audience gasping captured in a fusion delight, full of funk and life, the drum roll announcing perhaps the closing procession. Great fun.
We close with Memories from Somewhere. This provides us with yet another stark contrast in mood, the piano which opens dripping with dissonance, dark, distant, the composer not necessarily knowing what, precisely, these memories are at the start, but then the insistence and recollection begins with the piano urgently beating out its message, then a tuneful passage which is still distant and lonely, almost dreaming of a love lost in the past, memories which could be pleasant, but are predominantly mournful. Those of you who enjoy classical music in a modern setting will enjoy this.
IV is a superb set of songs from a very talented musician, and I am again grateful for Cristiano for reaching out to me. Music lovers, check it out, an eclectic mix held together by a common thread of talent.