



tunelink.com
PO Box 2193
Pinellas Park, Fl 33780
(make checks payable to Chris Di Salvatore)

Music Indulgence: Chris DiSalvatore's "The Season" By Lisa Shaw
It was my astounding good luck to run across former Brewer resident and musician Chris DiSalvatore on Facebook recently. Chris now resides in Florida, which Maineville Q&A co-host Chris Quimby correctly refers to as “The Other Maine,” but has laid down musical tracks reflecting his experiences from his years at the University of Maine that lead the listener to a beautiful place even my passport services cannot access. Atlantis is compilation of lyrical and instrumental ambient philosophical exploration, and the track that won me over first and most completely is “The Season.” As soon as I had downloaded it and had begun to listen, it carried my senses to a sun shower – a fluid juxtaposition of the reassuringly gentle and the arousingly challenging. The piece starts lightly as a soft breeze and thoughtfully progresses into a pulsating rhythm of guitar and synthesizer that grabs the listener's hand and begs them to come along. The smooth transitions of instrumentation and tempo feel like the first romantic interlude with a sensitive partner who intuitively knows which strokes and caresses the moment calls for next without being told. At a run time of 4:41, “The Season” spends just enough time on its listener to bathe and soothe every sense and withdraws at just the right moment of fulfillment. A more complete biography of Chris DiSalvatore and bandmate Chris Hattingh, along with the tracks and purchasing details of Atlantis, can be found at http://www.myspace.com/chrisdisalvatore and at http://tunelink.com. Jam magazine is quoted as finding Atlantis “... a unique testament to Di Salvatore's imaginative finesse...each time you listen to the album, you're bound to discover something fascinatingly new, making Atlantis worth every cent you spend on it!” I'll go one step further and suggest that like recently discovered personal pleasure, this is best experienced in one's own company the first run through, and then shared - as I have done. It is my sincerest hope to see more work forthcoming from this multi-talented artist.
Music Indulgence: Chris DiSalvatore's "Atlantis" By Lisa Shaw
Approximately one week ago I wrote a short review of “The Season,” the introductory cut to the album Atlantis by former Brewer, Maine, and now Florida resident Chris DiSalvatore. What follows is a more in-depth look at the full album, and a few technical changes of which you should be aware in order to hear this gifted musician. Atlantis – the physical place, the culture – has been at the center of scientific and philosophical speculation and debate for ages. Did this civilization ever exist? If so, what happened to it? Family theme parks have sprung up around the theme of Atlantis. New age and instrumental icons such as David Arkenstone and Clara Ponty have beautiful pieces bearing its name. “Stargate: Atlantis” is one of the most popular sci-fi television series to have aired. Its mystery keeps its mystique in perpetuity. Chris DiSalvatore, along with band mate Chris Hattingh, has composed and compiled Atlantis, one of the most beautiful, technically skilled and intriguing album projects I have heard in a very long time, a musically thematic story rivaling in its style the Moody Blues' 1967 release “Days of Future Passed” by its similar ability to work – as intended – as a beginning-to-end whole or as individually released singles. The songs vary in style from hints of Boston, Dyer Straits and even a splash of Metallica to what I could best summarize as a Duke Ellington “Mood Indigo”-type release if scored by a Sam Cardon or Dan Gibson. Yet at no time does the diversity threaten the fluidity of this album. As one might imagine a ride at an Atlantian theme park, the music brings the listener along on a journey that sets out gently, tentatively exploring the introduction to a culture so much more effectively reincarnated artistically than scientifically; diSalvatore's lyrics and instrumentation do not just tell, and neither do they merely show: They take you there, immersing your senses in a passionate, empathetic suspension of time where the next climactic phrasing feels as though it will take the listener's breath away and yet holds tightly so that the next movement is exactly where the visitor to this artistic piece hopes and wants it to be. Whether one reads the Tarot of the book of Genesis, the theme is a familiar one: The Wheel of Fortune; the rise and fall of Paradise. Chris DiSalvatore best tells his opera in his own words here, but what's left unsaid and for the audience to infer is whether it was not only inevitable but in fact necessary for this civilization to fall after reaching its peak. While as people we often tend to plan things in a linear fashion, assuming a start position and ultimate goal, our most compelling religions and philosophies beg us to consider whether altruism can truly exist without hedonism, whether light can exist without darkness, and whether the true course of our lives is not flat as the Earth we once mistakenly imagined but rather is cyclical. How far can we climb before Mother Earth pulls us back deeply into her with gravitational force, and before God the Father confounds our unity of purpose, as with the Tower of Babel? DiSalvatore has a unique gift for combining instrumental prowess with intellectually challenging lyrics to create a fully immersive environment for the listener. Be prepared for cuts like “Better Than Human” and “The Bermuda Project” to embed themselves in your subconscious (and not in the annoying way like the FreeCreditReport.com jingles). Do not be surprised to awaken in the morning with the arousing rhythmic crescendo of “Deluge” in your head. DiSalvatore's full album and/or singles from Atlantis are now available through Amazon.com and iTunes, which now [combined] hold nearly 28% of the music distribution market.



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