As the name "The Smell of Blue Electricity" suggests, Vittorio Montalti’s latest venture with Blow Up Percussion is anything but conventional. But let's be honest, were we really expecting anything less from a composer whose artistic curiosities dwell in the liminal space where acoustic instruments flirt with the beguiling hum of electronics? This record, released on CD by col legno, is a daring exploration of sound that defies easy categorization, marrying the physicality of percussion with the intangible allure of electronic manipulation.

Montalti, a product of Milan’s conservatory halls and IRCAM’s cutting-edge laboratories, clearly revels in dismantling the traditional roles of composer and performer. Here, the lines blur to such an extent that by the time you’ve settled into the first track, "1A+1B", you’re already questioning whether you’re listening to music as it’s typically defined, or rather, experiencing an intricate dance of sonic forces, each teasing and testing the boundaries of the other.

The album’s structure, with its tracks numbered like a cryptic scientific experiment, hints at Montalti’s methodical yet playful approach. The division into sequences and the fragmentation of sound elements offer a listening experience akin to navigating a maze, where each twist and turn unveils a new perspective, a fresh surprise. This is not music for the faint of heart or for those who seek comfort in familiar cadences. Instead, it’s a challenging but ultimately rewarding journey that invites you to shed your preconceptions about what music can or should be.

Blow Up Percussion, the ensemble that collaborates with Montalti on this project, is no stranger to the avant-garde. Their focus on contemporary compositions and their willingness to delve into the realms of musical theater and experimental sound projects makes them the perfect partners in crime for Montalti’s boundary-pushing vision. The ensemble’s performance here is nothing short of masterful, bringing a tactile, almost visceral quality to the music that’s both exhilarating and, at times, unnervingly intense.

Then there’s the electronic component, crafted with the expertise of Tempo Reale, the Florence-based center founded by none other than Luciano Berio. The electronics in "The Smell of Blue Electricity" are not mere embellishments; they’re integral to the work’s identity, expanding the timbral possibilities of the percussion instruments in ways that are both subtle and striking. The electronic sounds are woven so seamlessly into the fabric of the music that it becomes impossible to distinguish where one ends and the other begins, creating a unified sonic landscape that’s as evocative as it is abstract.

Tracks like "2A" and "4C+4D" epitomize this synthesis, with layers of electronic tones and textures adding depth and dimension to the percussive motifs. The result is music that feels both organic and otherworldly, as though the instruments themselves are being animated by some unseen force, guided by Montalti’s meticulous yet mercurial hand.

Despite its intellectual rigor and avant-garde leanings, "The Smell of Blue Electricity" never feels cold or detached. There’s a warmth here, a sense of playfulness even, that pervades the album, particularly in tracks like "3D+3E" where the electronics buzz and hum like a mischievous spirit, coaxing the percussion into ever more daring territory. It’s as though Montalti is reminding us that while his music may be serious, it’s also meant to be enjoyed, savored, and even marveled at.

"The Smell of Blue Electricity" is a work that challenges our perceptions of what music can be while offering a deeply immersive and, yes, electrifying listening experience. It’s not for everyone, but for those willing to engage with it on its own terms, it’s a journey well worth taking.