New track, "Roll of the Dice" just added. Hope you enjoy.

Hi once again,

Just a note to let you know that I have joined:Reverbnation

http://www.reverbnation.com/dinopacifici

A very cool site for musicians. Check it out! Thanks.

Dee :-)

Hi again gang,

Before the official announcement, I would like to take this time to thank you all for visiting and listening and commenting on the music. It is appreciated very much.

Oppression/Recession is the name of the new track. Just my take on the whole mess.

Ciao, Dee.

Hi gang,

Once again, I added a new track to my page, actually, a track written in the early 90's from my quadruple vinyl release , Dee's Greatest Hits That No One Has Ever Heard and just re-made for the fun of it. It's called Neon Lights... ah 1-2-3...

Dee :-)

Hi all,

Just added a track to my page. It is a combination of a tune composed in the late 1800's, I think, and a newer one composed in the 1960's.

"When Johnny Comes Marching Home "/ Theme from M*A*S*H. Alas, a subject I don't like to talk or think about but still with us unfortunately, war.


Dee.

For those of you interested , here are some reviews of my past releases;


Dino Pacifici has given his album, The Float Zone (57'55"), the perfect name. What with it's drifting nature and recumbent posture, it is unlikely that anyone experiencing this album will ever be able to find the floor. The seven tracks work on the modality of the mind. Each piece creates an area outside of time, exhibiting a sprawling stillness attributable to Pacifici's introspective design. The slow movement and gradual kinetic flux of his soundscapes draw us inward and the listener's transient thoughts and mental states become lost within this work's expansive dreaminess. The sounds on The Float Zone are made by synthesizers, samplers, guitars and numerous other gadgets. Each piece seems to rush into the listening space. With dense drones, harmonic pads, reverberant voices and numerous unsettling accents and modulations, we quickly become lost in this album's dark dimensions. Towards the album's conclusion, Pacifici injects his work with cycling rhythms, light melodies and an overall brightness, aiding in the much-desired soft landing... Is this an album of Space or Ambient Music? With its ability to instill within the listener both a sense of the vastness of space and the timelessness of infinity, The Float Zone contains properties of both.

- Chuck van Zyl/STAR'S END 6 January 2005
------------------------------------------

After four releases that bridged contemporary, electronic and jazzy sounds,Canada's Dino Pacifici has created the perfect release for Backroads customers. "Hallowed Ground" is pure spacemusic, with an edge that brings to mind A Produce, Global Communication, Vidna Obmana and even Steve Roach. Pretty strong references, I admit, but after receiving this new title and
playing it four times in a row, I am convinced. The first two tracks,
'Solace' and 'Timeshift,' run for forty minutes of carving, penetrating space drift, setting the stage perfectl;y for what follows. Then a tribal rhythm takes hold as the exploration seems to spread into further galaxies that include kinetic cross-rhythms, alien textures and offbeat effects, and equally compelling structures. Dino plays as if he's really been there and back, and now he's going to show us what he has seen and heard. This is a
major release for space/electronic music fans for the Millenium.

Lloyd Barde - Backroads Music


--------------------------------------------


Dino Pacifici / Hallowed Ground

Brilliant. Ambient/space at it's finest. Major
props to Dino for creating a powerful but elegant
effort, full of pathos and reflection and electronic
stuff as well.

Synthuser-1999.
--------------------------------------------

HALLOWED GROUND

Dino Pacifici, from Montreal, Canada, has up to now
created a sunny, serene ambient sound, filled with smiles and
relaxation, as well as a parallel line of bouncy, club-oriented but
soft-edged dance tracks. HALLOWED GROUND is a departure
from this usual style. Pacifici is going exploring, and his travels take
us to places both familiar and unfamiliar, from Steve Roach's
deserts to the ice fields of Neptune.

The first track on this album, "Solace," is also the longest. It opens
with lovely bell sounds in a long clear hall of
reverberation, and then sails along with pleasant synthesizer chords
floating by in a slow progression. This flow is accented with spacy
special effects, especially the electronically modified voices and calls
which are a Pacifici trademark. The piece has a soothing
"mystical temple" feeling, but because it is so slow and relaxing I think
it should not be the first piece on the album.

The middle tracks, "Timeshift" and "Hallowed Ground," are more
electronic-oriented and modern. "Timeshift" is anchored by a cold
muffled bell sound reminiscent of ambient composer "A Produce," and
traced about by icy glittering synthesizer sounds and Pacifici's
electronic whispers and mutterings. A slow drumbeat
adds a Roach-like touch to the track. "Hallowed Ground" moves even
further into an ominous ambient mood with plaintive
synthesizer tones, contemplative drumbeats and tabla taps, and
sonic fly-bys of Pacifici's voices - which are here slightly
disturbing, rather than humorous or comforting.

Track 4, "Warp," is a foray into "old-fashioned" (meaning that old 20th
century) electronica, the way it was done in Europe in the 1950s
and 60s. Dino's sense of humor resurfaces here. A
jaunty but sarcastic electronic beat introduces a Eurostyle machine tune,
accompanied by beeps and bloinks which could have come
from old science fiction movies - deliberately simplified electronic
noises, using sophisticated modern synthesizers to produce stuff that
sounds like it comes from rooms of dusty oscillators, ring
modulators, tape splicers, and tangled multicolored cables.

"Ice Fields of Neptune" is a rerun from one of Pacifici's older albums,
RANDOM FACTORS. Its electronic evocation of
icy sparkles has that scene-setting quality that makes it seem like film
music. It is the most "pictorial" of the pieces on this album. The
last cut, "Cave Dweller," is self-consciously "jungle music," Pacifici's
musical tongue in cheek statement. It is not only drink-it-up lounge
music, but a satire of the "tribal" ambient style of the last decade,
complete with Dino's voices chanting something guttural and
incomprehensible, like some of the better-known and far more
serious practitioners of "neo-aboriginal" electronic music who will
remain nameless here.

It's fun to listen to Dino Pacifici going into new territories. He visits
the world of "dark ambient" and "tribal," as well as the Orientalizing
territories of drifting bells and trance rhythms. But no matter where he
goes, his characteristic wry, ironic humor goes
with him, as well as his shimmering, warm harmonic lines. Even in the ice
fields of Neptune, somehow with Dino Pacifici there are
always echoes of summer.

Hannah Shapero
12/28/1999
---------------------------------------------------------



If you are a friend of Electronic music but haven't heard the name of Dino Pacifici before, this is understandable, because on his previous albums he has done mainly instrumental jazz. Good stuff, but not exactly in the area of radio waves music.

In 1997 however Dino took a different road in his career. And with this CD, his fourth, the 1958-born musician proves to be a new star in space music heaven. Dino Pacifici calls "The Journey" his most personal album. With spacey ambient sounds, some tribal influences and spheric soundscapes, Dino reminds a little of Jonn Serrie ("Ixlandia") or Michael Stearns, and he doesn't have to fear comparison even to these grand masters of space music.
I rank this CD as "highly recommended". Those who can hear Radio Waves will
have a chance to get their own impression, since I will play excerpts from this album in the show in January '99.

Torsten Zimmer
RadioWaves
-------------------------------------------------------------------------


There's something in the Canadian water - that's gotta be it. How else to
explain three distinctly different yet excellent albums from Quebec-based
keyboardist Dino Pacifici? Well, of course, he's talented, versatile, and
skilled in multiple electronic music techniques. Ummmm, maybe it's not the
water after all!

Anyway, Hallowed Ground is Dino's foray into various ambient and space
music territories and the album is, in a word, stunning! Sounding like a
cross between Steve Roach, A Produce, Brian Eno, Richard Bone
(pre-Electropica), and Kudzu, yet always retaining the unique textures that
are his alone, Dino has fashioned a work of power, subtle beauty, primal
energy, and dark shadings of sound.

Using what sounds like a veritable arsenal of keyboards, Hallowed Ground
succeeds in all respects. It's drifting liquid ambient on "Solace" (the
longest cut and the album opener). Here the music slowly undulates in
luxurious rising and falling chords, evoking something between the serenity
of Liquid Mind and the deep space of Meg Bowles and the aforementioned
Roach. Next is the Eno-esque/A Produce-like "Timeshift." A single note
reverberates into the distance, while vaguely disquieting synths dance and
cavort in the foreground. Subtle rhythms occasionally seep into the picture
and the song begins to pulse with alien life.

Later, we have the ethno-tribal title cut, filled with a primal lifeforce
as exotic hand percussion mixes with swirling smoky synths, creating a
primeval vision of sacred soundscapes, a la Kudzu. The polyrhythms are
recorded just right and, at times, when some high-end keyboards enter the
song, I even thought of the soundtrack to Riven.

The last three cuts include the initially dark
electronic/quasi-experimental piece, "Warp," which evolves into a wildly
percolating highly rhythmic futuristic dance number, the twinkling
synth-fueled outer space journey to "The Ice Fields of Neptune," enhanced
by atmospheric synth choruses for a shading of mystery and grandeur, and
the album closer, the fun and quirky "Cave Dweller" with more tribal hand
percussion, this time counterpointed with low end synth flutes and a unique
quasi-kalimba synth refrain.

While I have noted the similarity of Dino's music to more than a few
artists above, I want to stress that this is for two reasons. One is simply
for the sake of describing the music for the reader. Two is because
everyone I have mentioned is an artist I hold in the highest regard. That
Dino was able to create a work as diverse as Hallowed Ground featuring
influences from the artists mentioned, fashioning it in such a way that it
is his unique musical vision, and do it all with such style and proficiency
(the album sounds incredible) is a testament to his skill and his art.
Having graced us with The Journey, Acquiescent Resonance, and now Hallowed
Ground, all I can say is, "Dino, what are you going to possibly come up
with next?" Well, whatever it's gonna be, it'll have a ways to go to reach
the height of Hallowed Ground. Obviously, this CD is highly recommended!

Bill Binkelman/Wind&Wire-2000


My thanks to all the reviewers for their time and consideration and support.

Hello once again. I just added a new track to my page called Santa Ana Winds from my cd, Urban Oasis. This is my foray into smooth jazz. The instrument of choice here is the guitar. Hope you enjoy and thanks for listening.


Dee :-)

Just added a new track called Waterdome. It is a long form piece edited for MySpace formatting. Hope you enjoy.

Dee :-)