Let’s be honest – it’s not every day you encounter an album that genuinely pushes the boundaries of what’s possible with a classical guitar. Yet here we are, diving into Giuseppe Bonaccorso’s latest release “Plastic Triode,” which dropped on October 23, 2024. This isn’t just another experimental album; it’s a six-track journey that somehow manages to marry the warmth of classical guitar with the endless possibilities of electronic sound design.
If you’re wondering how an artist arrives at such an unusual intersection of styles, you might find the answer in Bonaccorso’s childhood. Growing up in Italy with a sculptor and painter father, he first got his hands dirty with pottery before ever touching a guitar string. It’s funny how life works sometimes – what started as childhood creative exploration would later shape his distinctly unconventional approach to music. “I still consider myself a classical guitarist,” Bonaccorso mentions with a hint of nostalgia, recalling how a simple decision to buy a classical guitar during his student years changed everything.
This early artistic foundation might explain why Bonaccorso seems so comfortable pushing musical boundaries. His approach to composition isn’t just about combining different styles; it’s about understanding the fundamental language of each genre and finding unexpected ways to make them communicate with each other. It’s the kind of artistic vision that comes from years of crossing between different creative disciplines.
But enough about the past – let’s talk about what “Plastic Triode” brings to the table. Clocking in at 33 minutes and 30 seconds, each track feels like opening a different door in a house full of musical mysteries. The opener, “Luminescence” (4:42), isn’t just a song – it’s more like a dream you can hear, where Bonaccorso’s precise guitar work dances with ethereal vocals and experimental effects that seem to float in and out of consciousness.
Just when you think you’ve got it figured out, “Melting Watch” (4:46) throws you a curveball with its digitally twisted young vocals weaving through acoustic guitar lines. But it’s “Rabbit Hole” (6:10) that really lives up to its name – every listen reveals something new, thanks to some clever audio panning that makes you feel like you’re tumbling through sound itself.
“Simulated Mirages” (5:57) marks a bit of a turning point, introducing percussion that adds an unexpected backbone to the ethereal soundscape. Then there’s “Persona” (7:23), our personal favorite, where Bonaccorso flexes his compositional muscles with layers that seem to reveal new secrets with each listen. ‘It’s what many people consider too weird,’ he acknowledges, ‘but if you listen to it patiently, you can understand that the presence of consonance followed by many dissonances may help you live the struggle of an ordinary person fighting against all his masks.’ The track’s title itself—’Persona,’ literally meaning ‘mask’—takes on deeper meaning as these musical tensions unfold. ‘In some moments, you can feel discomfort; in others, it is like a rational process,’ Bonaccorso explains, and this interplay between traditional guitar techniques and modern production methods brings his vision strikingly to life.
The finale, “Nucleation” (4:32), wraps things up in the most fitting way possible – think robots meeting classical guitar, with some chip tune influences thrown in for good measure. It’s exactly as scientific and experimental as it sounds, and somehow, it works brilliantly. The track serves as a perfect microcosm of what makes the entire album special: the fearless fusion of seemingly incompatible elements into something entirely new.
What’s particularly fascinating is how Bonaccorso’s musical journey shaped this unique sound. “I started with Romantic period pieces,” he explains, “but discovering composers like Leo Brouwer and studying works by Schoenberg, Berg, and Webern opened new possibilities.” You can hear these influences throughout the album, though they’re transformed into something entirely new. The way he incorporates these classical influences while pushing into experimental territory shows a deep understanding of both traditional and avant-garde composition techniques.
The experimental nature of “Plastic Triode” might raise some eyebrows, but Bonaccorso has a point when he says, “Every genuine artist has something to say, but sometimes it’s difficult to understand.” Take “Persona,” for example – its alternating consonance and dissonance isn’t just random experimentation; it’s a deliberate exploration of identity and internal struggle. Pretty heavy stuff for what could have been just another guitar album.
What’s impressive is how Bonaccorso maintains his technical prowess while pushing into uncharted territory. Each track feels like a masterclass in both classical guitar technique and electronic innovation. It’s as if he’s building a bridge between two musical worlds that don’t usually talk to each other.
Looking ahead, Bonaccorso takes a measured approach to future collaborations, though one particular artist stands out in his mind. ‘One collaboration I aspire to have is with the violinist Caroline Campbell,’ he shares, revealing he’s already crafting something specific. ‘I’m working on a song with an alternation between guitar and violin.’ Yet he approaches this aspiration with refreshing pragmatism: ‘I’m realistic, and I don’t think it’s easy. I keep everything in my folder; when I think it is ready, I may send it to her agency!’ Given his meticulous attention to composition and thoughtful arrangements, that folder might just hold the piece that catches Campbell’s attention — you never know.
For now, and for those intrigued, “Plastic Triode” is readily available on major streaming platforms. You can find Bonaccorso’s work on Spotify and Apple Music. For a deeper dive into his artistic world, check out his website, or follow his updates on X, Facebook, and YouTube.
In the end, “Plastic Triode” stands as more than just an album – it’s a testament to what happens when an artist refuses to be boxed in by conventions. Through this collection, Bonaccorso doesn’t just push boundaries; he questions whether they needed to exist in the first place. And in today’s increasingly formulaic musical landscape, that’s something worth paying attention to. His work reminds us that true innovation in music often comes from those willing to risk everything for their artistic vision.
