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Archive for March, 2014

Il Rumore Bianco – Mediocrazia [EP] (2013)

Posted in Jazz-Rock, Progressive Rock, Review, Rock Progressivo Italiano (RPI), tagged , , , , , , , on March 21, 2014|

201403ilrumorebianco

TRACKLISTING:
1. Tutto un sogno (parte 1) (6:15)
2. Il vestito buono (6:21)
3. Il primo attore (6:13)
4. Tutto un sogno (parte 2) (9:05)

LINEUP:
Eddy Fiorio – lead vocals, synth
Michele Zanotti – guitars, sax
Federico Lonardi – guitars
Thomas Pessina – keyboards, synth, backing vocals
Alessandro Danzi – bass guitar
Umberto Sartorii – drums

Il Rumore Bianco (White Noise) are a six-piece hailing from the historic Italian city of Verona, where they were born from the ashes of another project called Side C (who released two EPs between 2009 and 2011 before disbanding). In the summer of 2012, former Side C members Michele Zanotti, Thomas Pessina and Alessandro Danzi got together with the intention of forming a new band with a more eclectic, “progressive” direction, and recruited vocalist Eddy Fiorio, guitarist Federico Lonardi and drummer Umberto Sartorii  – all dedicated musicians with extensive experience in spite of their young age. The band’s recording debut, a 4-track EP by the title of Mediocrazia, was released at the end of November 2013.

Though Il Rumore Bianco claim to have been inspired, first and foremost, by progressive rock’s classic era, Mediocrazia eschews the overtly retro sound of many recent releases. The typically grandiose, symphonic approach of many Italian prog bands is only marginally touched upon, leaving the stage to a wide range of sources of inspiration that, in some case, are tangential to prog – such as electronics and jazz, as well as Italian-style alternative rock. The different  backgrounds of the band members are brought together to create a tight yet varied musical texture that supports thought-provoking lyrics dealing with the overwhelming presence of the media in modern society, and the resulting pervasive mediocrity that stifles the aspirations of genuinely creative people.

The EP is bookended by a two-part suite titled  “Tutto un sogno”. The energetic, organ-drenched first part often  hints at Deep Purple, though Eddy Fiorio’s voice – following the line of the music like an additional instrument instead of dominating it (as it often happens in Italian prog) – evokes a modern-day Demetrio Stratos; the song culminates in an exhilarating guitar solo backed by deep, rumbling organ. On the other hand, “Il vestito buono” combines an elusive vintage flavour  with a more modern allure; organ, mellotron and ambient-tinged synth washes provide a lush tapestry for Fiorio’s expressive vocals and Lonardi’s multifaceted guitar, and an engagingly warm sense of melody balances the surges of intensity.

The influence of Area looms large over the sleek jazz-rock romp of “Il primo attore”, where Fiorio deploys all the power and versatility of his impressive pipes, and Alessandro Danzi’s bass throws a generous pinch of funky spice in the heady stew of elegantly sharp guitar, blaring sax and jaunty electric piano. The 9-minute second part of “Tutto un sogno” wraps up the album in style, though avoiding the excesses of the stereotypical “epic” –  its atmospheric, muted intro gradually building up to a veritable explosion of sound  in which all the instruments seem to strive for primacy, then slowly winding down to a spacey, slo-mo finale.

The use of the inherently musical Italian language and the innate flair for a good melody possessed by seemingly all Italian musicians imbues Mediocrazia with that sense of Mediterranean warmth that surfaces in the work of the otherwise edgy Area, as well as later outfits such as Deus ex Machina, D.F.A. (incidentally, also from Verona) or Accordo dei Contrari. All in all, in spite of its short running time, this is a surprisingly mature debut – with very few, if any, rough edges, and a very promising display of songwriting skills. Those who prefer their prog on the modern side, but are not averse to the presence of distinguishing elements of the classic Seventies style, will not fail to be intrigued by Mediocrazia – which is highly recommended to fans of the thriving, variegated Italian prog scene.

Links:
http://www.ilrumorebianco.com

https://www.facebook.com/ilrumorebianco

http://ilrumorebianco.bandcamp.com/album/mediocrazia

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Pensiero Nomade – Imperfetta Solitudine (2013)

Posted in Acoustic, Ambient, Instrumental, Jazz, Progressive, Review, tagged , , , , on March 7, 2014| 5 Comments »

Pensiero-Nomade

TRACKLISTING:
1. Barcarola (4:25)
2. Cerchi d’acqua (4:26)
3. Danza notturna (5:14)
4. Calce e carbone (5:09)
5. La colomba e il pavone (4:17)
6. Tournesol (4:28)
7. Prima dell’estate (5:50)
8. Scirocco (5:03)
9. Imperfetta solitudine (6:19)
10. Sensitive (2:54)
11. Verso casa (4:07)

LINEUP:
Salvo Lazzara – guitars
Luca Pietropaoli – trumpet, flugelhorn, contrabass, piano, electronics
Davide Guidoni – drums, percussion

With:
Clarissa Botsford – vocals (10)

Pensiero Nomade is a solo project by Sicilian-born guitarist/composer Salvo Lazzara – previously know to fans of Italian progressive rock as a member of Germinale, a band that released three albums for Mellow Records in the Nineties, and also participated in some of the tribute compilations released by that label. At the beginning of the new century Lazzara moved to Rome, where he realized that his musical interests were changing, and took up the study of jazz and improvisation. Pensiero Nomade was born from that experience: the project’s very name hints at the wide range of influences that inform Lazzara’s compositional approach, from jazz to world music to ambient/electronics. The project’s debut album, Per questi e altri naufragi, was released in 2007, and followed by Tempi migliori (2009), Materie e memorie (2011), and, finally, Imperfetta solitudine in the summer of 2013.

While Pensiero Nomade’s previous album saw Lazzara flanked by a group of four musicians, including a flutist and a keyboardist, the lineup on Imperfetta solitudine is a stripped-down trio that features Luca Pietropaoli on trumpet, flugelhorn, piano, contrabass and electronics, and Davide Guidoni (one-half of Daal, as well an excellent graphic artist) on drums and percussion. The result is an album that, while undoubtedly “progressive”, is quite far removed from “prog” in a conventional sense.

Indeed, unlike many contemporary prog albums, Imperfetta solitudine is neither brash or loud, though it would be a mistake to consider it mere background music. It certainly needs to be savoured at the right time and in the right surroundings, preferably after the sun has gone down, and when it is possible to lend it some attention – as is the case with albums in which subtlety and nuance are much more important than forced variety. Nothing is fast or hurried here, and the musical texture is loose and atmospheric, though not random. The sounds are organic, never jarring, but not artificially smooth either. The gentle movement of Lazzara’s acoustic guitar in opener “Barcarola” evokes flowing water, while the trumpet’s smoky, melancholy voice sounds almost human. The same pensive tone, almost an aid to meditation and reflection, can be found in the melodiously wistful “Calce e carbone”, the ethereal  “Tournesol” and solemn closing track “Verso casa”. The faintly disquieting “Sensitive” is the only number to feature the haunting vocals of guest artist Clarissa Botsford; while the uplifting “Cerchi d’acqua” exudes an almost vintage West Coast feel.

The 11 tracks are all relatively short, and only the title-track – a lovely, harmonious guitar bravura piece in which Lazzara uses the strings to create a percussion-like effect – exceeds 6 minutes. While the emphasis is firmly placed on the seamless, constantly riveting interplay between Lazzara’s guitar and Pietropaoli’s trumpet, Guidoni’s elegant, accomplished rhythmic touch adds dimension to otherwise low-key tracks such as “Scirocco” and La colomba e il pavone”; then it comes into its own in the lively “Prima dell’estate”, where it engages in a striking “dialogue” with the trumpet, and” and the stately “Danza notturna”, to which hand percussion adds a discreet touch of warmth.

Although Imperfetta solitudine is very likely to have flown under the radar of most “mainstream” prog fans, it can be warmly recommended to lovers of music that speaks to inner feelings and emotions as well as the ear, and evokes far subtler moods and atmospheres than those usually associated with the pomp and circumstance of classic progressive rock. Complemented by stylishly minimalist cover photography that reflects the nocturnal, meditative nature of the music, this album will appeal to devotees of the output of labels such as ECM or Moonjune Records, as well as those who are keen to explore the thriving diversity of the Italian music scene.

Links:
http://www.reverbnation.com/pensieronomade

http://www.myspace.com/pensieronomade

http://www.zonedimusica.com

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