“...mindbending music for guitar and electronics...hear Oppedisano’s intricate roar.””
“Oppedisano is one of NYC’s best-kept secrets, and by all means, we need to put a stop to that. Bring his wares out in the open, for heaven’s sake, ‘cuz the dude and his phantasmagorical guitar apparati is flat out required listening if you possess even the slightest interest in how bent strings can really get. There are, of course, many others. Oppedisano’s relationship to his instrument (sometimes but not quite au natural) and its bastardization thereof (signal processed, sampled, and resampled beyond recognition) neatly bisects both a visceral and thinking man’s approach. In his hands, the guitar (and bass) are but mere foundational blocks upon which entire sim cities are interconnected through a prismatic maze of detours, false exits, cul de sacs, and infinite spaces. Brilliant stuff.” - Darren Bergstein
“Mechanical Uprising is an impressive artistic statement that serves as both a compositional and a playing tour de force. I’d recommend it to any guitarist out there with an ear bent for the sonically bold and experimental.”” - Scott Collins (Guitar-Muse/guitarchitecture.org)
“...(de)ranges from heavily saturated, Vai-meets-Torn virtuosity to absolute mayhems where incessant sequences and complicated sci-fi convergences get interrupted by tear-in-the-black-sky openings of harmonic lights, repeated hints to galactic apprehensiveness and amusingly indiscreet hymns to renascence.” - Massimo Ricci
““…[Mechanical Uprising] is an important work..” ” - Mark S. Tucker
— FAME
“...[Mechanical Uprising]...It's very demanding music, requiring close attention and an open mind, but if you can bring those attributes to it, it’s extremely accomplished and utterly absorbing.” - Oliver Arditi
“[resolute]…Each vignette is its own discrete sound-world (my current favorite is the incandescent "Reflection"); taken together, they form the soundtrack for a mind-movie you can transport anywhere." ” - The Stash Dauber
““…It's all true, this guy is one amazing talent. I call it "David Torn and Adrian Belew interpret Stravinsky". Serious composition here, and none of this obsessiveness with "guitar tone" and "chops", although he shows plenty….” ” - David Lee Myers (Arcane Device)
“Marco Oppedisano’s a highly imagistically abstract experimental guitarist-composer-noiseur (include piano, voice, and percussion in that, too) in Brooklyn, New York, and Resolute is his latest release after a much too long quietus, his last effort having emerged in 2010. This new affair arrived quite fortuitously to my attention, as I’d at the moment been listening to Escapade’s duetoafaultypremonition, a satisfyingly experimental noisy affair as well, though definitely zoned-hippie as compared to Marco’s neoclassicalism. His 5-track 21+-minute EP demonstrates the marked contrast in myriad differences between a single highly disciplined musician and a very cool mess of on-the-fly players like Escapade, a sextet.Marco’s work has long been mindful me of an unusual conflation of any number of past influences: Morton Subotnick (who teaches or taught at the same school as Oppedisano), Morphogenesis, Faust, Cluster, PBK, and a collage of others…but also of an obscure 80s cat, John Wiggins, an HBO sound engineer who released a series of extremely three-dimensional, sonically pristine, found-sound/noise/avant-garde issuances. Oppedisano’s masterful control of his recordings immediately harkens back to Wiggins’ equally painstaking documentations, as do the highly variant sounds residing in a spacey quadrant nonetheless redolent with terrene landscapes.Should you not be quite as zoned as me and other prognacious bastards, be neither esotericized nor daunted by citations of past-master sonic surrealists because there are elements of Fripp & Eno’s groundbreaking duet work present as well, the opening cut, “Breathe”, a kind of cross between later King Crimson and No Pussyfooting, with a good deal of avant-prog continuing as the quintet of songs progresses. A couple decades ago, I coined the term ‘incidentalist’ to embrace this ilk of work, as everything here is episodic amid individual elements of short duration, yet holds together magically, far more so than the term might suggest.This is not easy art to produce as its qualities are the most esoteric in all sound production, rooting ultimately in John Cage and the 60s Nonesuch electronicist pioneers, not to mention the remarkable ONCE Festivals, and that’s precisely why I cover it: because, goddammit!, there’s nowhere near enough material on this level being produced, and there should be far FAR more. Evolution depends on it!…or at least the hedonistic satieties of sonic omnivores like myself and hopefully you.Man cannot live by Butch Morris alone.” - Mark S. Tucker
“Pieces with complex arrangements, collage-like writing with sudden thought-out shifts. I like it a lot. It makes me think of mid-‘90s René Lussier or Fred Frith’s music for dance....[Oppedisano] a guitarist and composer full of ideas and worth discovering.”