"(..) All themes have titles in Latin, but not in a romanesque attempt to set up something that is old: the type of crosses applied not only - as far as I know - is unheard of as it does not remind the devil, to use a popular expression. This is one of those works that will either stand as a unique case in the history of 21st century music or will ground a new musical trend. Something that combines diametrically opposed energetic forces: the star-flickers activated by Di Domenico invite us to psychedelic flights beyond the firmament, while the gravity managed by Almeida forces us to descend to the earth. In the midst of these two sensory imams are we, only able to levitate a few feet above the ground and almost falling with the vibrations of Pándi's obsessive-compulsive hype. In short, here is a CD capable of providing us with a unique listening experience." Rui eduardo Paes on jazz.pt

"he Fender Rhodes is an instrument that regularly pops up especially in jazz. The specific sound of the instrument fits perfectly with electric variants of the genre and there are also plenty of enthusiasts in the current generation of jazz musicians, despite the many possibilities that synthesizers offer. The keyboard instrument can offer a welcome counterbalance to the acoustic sounds of wind instruments, but even as a lead instrument the Fender Rhodes is not a bad figure. Cement Shoes is an international trio that puts the Fender Rhodes in the sunlight, but is used in a different way than the average jazz listener. The trio consists of Giovanni di Domenico (Fender Rhodes), Gonçalo Almeida (electric bass) and Balázs Pándi (drums). Di Domenico is from Italy and now lives in Brussels, but he spent his childhood in Libya, Cameroon and Algeria. This probably explains his unconventional playing, which is not only influenced by Western music, but also rhythmically and melodically draws on non-Western traditions. We find the Portuguese bass player Almeida, who lives in Rotterdam, on this blog more often. Certainly lately there has been a storm with expenses in which he is involved, both on electric bass and on double bass. Pándi is a Hungarian drummer who can be heard on releases from and with, among others, Zu, Merzbow, Venetian Snares, The Kilimanjaro Darkjazz Ensemble, Mats Gustafsson and Thurston Moore. We are dealing here with a trio that explores the experimental and noisy side of free improvisation. The music, however, never degenerates into a bowl of pure noise, but continues to breathe and keep moving, even in the slower parts. The main role seems to be played by the Fender Rhodes, but certainly does not obliterate the other two instruments, because in fact there are three equal musical entities. Cement Shoes is inspired not only by jazz, but also by noise, noise rock, psychedelic rock, kraut rock and indie rock. The trio is not just rumbling on, the music has subtleties and a lot of variation. Opener "Opus Incertum" starts slowly, with the Rhodes sounding like an instrument set in the background, while the drums and bass operate on an equal footing. The Rhodes sounds are long and vibrating, the bass plays rather high notes and the drums sound a bit woolly, but with some sharp sounds of snare and cymbals. Bas and Fender Rhodes change positions, the bass is now looming in the background while Di Domenico starts playing livelier and firmer. After four and a half minutes, however, the music really comes on stream, when the bass guitar sets out on rock-covered terrain, the drum strokes become more intense and the Rhodes emits turbulent, futuristic and even psychedelic sounds. "Opus Reticulatum" starts with a lot of suspense, mainly caused by the bass sound soaked in a light reverb. As if a large predator is looking for its prey. The Rhodes almost sound frisky up there, like the innocent lamb that is not yet aware of its cruel fate. The drums represent the unrest that rages in the body of the predator. A little after halfway, it turns out that lamb isn't that innocent, because Di Domenico now provides a substantial counterbalance to the growling bass sounds of Almeida. Rest returns to the end after an undecided struggle. Almeida sets up his noise rock cap again in "Opus Sectile". However, Pándi is a far too free drummer to rock the music through. Di Domenico answers the fierce bass sounds with repetitive playing and modulations, so that the music is constantly under high voltage. It doesn't take too long for the music to turn into a fight for three people, with Di Domenico operating the noisiest and Pándi making an impression by drumming things together in one way or another. Suddenly the pace drops considerably, as if the men are tired of the fight but still angry, so the energy is not lost. "Opus Latericium" offers a moment of peace, although that is relative here. The Rhodes sound subtle and pleasant, while the bass below is soft but restless. The drums are everywhere and take the free role as Di Domenico switches to a repeating pattern. The intensity increases as Almeida finds its volume control and raises the adrenaline level with quick tunes and riffs. Here too the tempo in the last part is slowed down considerably, with a doom metal bass as the basis. In "Opus Testaceum", Di Domenico and Almeida play a layered high drone, through which Pándi hits and rolls underneath. The Fender Rhodes first detaches itself from it, after which the bass goes completely wild with aggressive playing. Finally, there is "Opus Vittatum", in which the trio is more cautious, but creates tension and a constant threat, and in which feedback sounds compete with echoing and droney bass sounds and sharp Rhodes sounds. Then it is noisy, powerful and swirling sound probe." by Gert Derkx on Opduvel blog.