ENG daily.bandcamp.com, Dave Sumner (apr.2019)

There’s a lot going on in Massimiliano Milesi’s debut album. There’s an elasticity to the tempos that creates an almost woozy motion, except for when the tenor saxophonist’s quartet breaks into a groove. The heavy doses of electronics sometimes overtake the effect of the organic instruments, and occasionally just melt right into their surface. There’s a harmonic approach that, at times, gives the impression of one becoming two becoming three, like clones of a separate melody that depart and never see one another again. There’s some post-jazz, some modern post-bop, some indie rock, and some electronic music, and these influences inspire a cryptic dance with a curious synchronicity. But complexities are a simple course to navigate when you lead with melodies as embraceable as these. They possess an unswerving catchiness that charts a direct path straight to the listener’s heart. The melodies frame every other aspect of the music and provide it a ringing clarity, no matter what’s in the mix. It’s why Oofth is as fun as it is intriguing. Special mention for Emanuele Maniscalco, who sits in on piano on this session; his name will lead to any number of excellent recordings released over the last few years.