Reviews

Sven Frischen-Nocher - Didgeridoomagazine - (worlwide magazine)
I want to mention… a didjeridoo player I saw, and particularly heard, at Swizzeridoo and in Berlin. …Andrea Ferroni from Italy. Inconspicuous, shy and neatly dressed, he sad at his stand with his selfmade didjeridoos. Then he stand on the stage, still dressed conservatively, as if he just came from the ofiice. Yeah, and when you think you are about to hear a few quite didje sounds, remember that you can never just go with outward appearance. Andrea stands behind his didje and punches out crisp, clear, cleaned rhythms, garnished with virtuoso extras, simply astounding.

Mario Ten Venne - Didgeridoomagazine - (worlwide magazine)
Andrea Ferroni from Italy released with his CD "Noices & Voices" real work of Art - you have to hear it.
In general it could be said, that his work is Didgework. There are added effects, but they do not have a central function in the album like in other known Cds, but these effects are to raise up ambient and in addition of Rhythm. In the middle of the album there is Andrea Ferroni and his Didge.
In his typical fast, rhytmic and percussive style Andrea hammers from Track to track. But not that everyone believes that it ist only a fast album again and you don´t have to hear because there are enough albums whick present the same. No - there are new effects, an other playing style and it based on experiments with new effects.
For me it is very interesting to hear effects of human voices which are without Didge, only reverse played - sounds mystical and sometimes a little bit of creepy. In former times i heard it only in the film "White Noice". It is a venture to assign it to music - respect because it works. "Reverse" is one of my favourites on this album.
What is very fascinating for me to, is how easy the toots go out of Andreas Didge -
effortless, easy and extremely clean. It is a pleasure for my ears to hear this. Even in his flow of play he changes between the keynote and several toots with a astonishing lightness. This leads to an impression of the album to be a technical and acoustic impeccable work - and this is what it presents.
On of the Highlights of "Noices & Voices" is track #7 -"Improvisation 1", that´s clear. On the first side Ferroni-Power-Didge for itself and on the other hand lively beats and rhythms plus effects of voices which sounds without droning the tube. It is just improvised and full of passion for the instrument.
This passion communicate itself to the audience in every track of the album.
Best wishes and have fun by hearing this highlight.

Giuseppe Verticchio - www.oltreilsuono.com - (website of reviews)
…"Noises & Voices" confirms with no doubts my initial impressions on his incredible abilities in playing didjeridoo. So much that I can affirm Andrea Ferroni is probably the ablest, imaginative, eclectic and "spontaneous" Italian player I have ever listen before. The tunes where the didje is the absolute protagonist "Solitaire", "Improvisation 1", "Improvisation 2" e "Seaside", probably are the suitable (and my favourite) to understand the astonishing technique and interpretative ability, the incomparable "agility", the absolute control and mastery he was able to learn in a really brief period.
His abilities emerge quite clearly also during the tunes which is present modern music, well done tunes, with a great impact and striking. In these tune he shows his ability in joining so different music together. Sometimes with really strange musical gimmick very far for the traditional and ethno music. … I'm absolutely sure that Andrea Ferroni… will do a long long way with his instrument… and we'll listen great comment of him.

Giuseppe Verticchio - www.oltreilsuono.com - (website of reviews)
“Very interesting and particular is the outcome resulting in “Abstrait”, track in which the research of new solutions comes true in an obsolete match of didjeridoo and didjeribone which pays moments and sounds of particular awesomeness, in a solution concerning technique and writing which deserves to be caught again and widened in the future, thus marrying more successfully the “old” and “new”, the essence of a “traditional” root with the need of renewal and sound research, which is absolutely necessary for everyone making music with care and commitment, and who doesn't mean to passively fall into standards and prepacked and conventional musical “models”

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