Guitarist, composer, and musical dadaism aficionado Cameron Pikó, who goes by the moniker Montresor for his musical pursuits, is set to release his third album. Following his 2011 debut album, Daybreak, and his 2015 sophomore release Entelechy, the new album Autopoiesis marks a drastic stylistic shift, although it maintains the essence of his unique sound.
A lifelong devotee to progressive and experimental music, Pikó’s first album was a love letter to prog rock. It melded the virtuosic guitar licks of the 80s with the progressive sensibilities and complex time signatures of bands like King Crimson and Jethro Tull, along with the melodic intensity of contemporary guitar bands like Ratatat and The Sword. While Autopoiesis diverges significantly from the powerful rock elements of Entelechy, it retains the unmistakable Montresor touch.
“The first album in nine years has been a long time in the making,” Pikó explains, “with some compositions dating back to the 2018 February Album Writing Month challenge. Autopoiesis is an extended labor of love, paying tribute to the lesser-known Rock in Opposition (RIO) movement of the late 70s.” Influenced by RIO bands such as Henry Cow and Univers Zero, the music on this album fuses technical instrumental progressive rock with classical instrumentation.
In tracks like “Belewga Whale” and “Funkminster Bullerene” from Entelechy, Pikó’s appreciation for jazz fusion, the progenitor of prog rock, was evident. While Autopoiesis initially seems wildly different, the same compositional elements are present, albeit applied differently. The album leans more towards Miles Davis meets Frank Zappa than Robert Fripp meets Dave Sabo, yet the intricate writing, syncopation, and experimental time signatures remain a hallmark.
The fusion of technical progressive rock with classical instruments such as clarinet, bass clarinet, bassoon, piano, harpsichord, and marimba alongside guitars, bass, and drums, demonstrates Pikó’s adventurous spirit. He navigates oddly timed rhythms, polymeters, and bitonality with the help of skilled musicians, creating a rich and textured soundscape.
The journey that is Autopoiesis clearly reflects the Australian musician’s passion for diverse musical exploration. Anyone familiar with his journalistic writings on progressive music will recognize his broad tastes. Despite the surprising direction this album takes, it should come as no shock that Pikó is eager to push Montresor in as many different directions as possible. However, it will undoubtedly surprise and intrigue his fans.
Montresor, the name under which Melbourne guitarist Cameron Pikó releases his instrumental progressive rock, has evolved significantly over the years. From the post-rock influences of 2011’s Daybreak to the explicit prog metal of 2015’s Entelechy, Pikó’s music has always centered around complex time signature changes and angular riffs. After a prolonged hiatus, 2024’s Autopoiesis represents a stylistic shift, trading extended solos for tightly composed pieces and incorporating classical instrumentation alongside the perennial guitar, bass, and drums.
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