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Posts Tagged ‘Bianca Fervidi’

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TRACKLISTING:
1. Two Views on Flight (4:17)
2. Ankoku (4:55)
3. Words Lurking (3:12)
4. Kurai (5:50)
5. Flow My Tears (4:17)
6. Ananke (1:34)
7. Running Water (5:04)
8. The Ghosts of Dawn (4:14)
9. In Darkness Let Me Dwell (4:55)
10. A Knife Under the Pillow (1:22)
11. Coming Back Home (3:56)
12. Waiting For the Crash (2:08)
13. A Dark Vanessa (3:03)
14. This Night Wounds Time (3:16)

LINEUP
:
Paolo «Ske» Botta – keyboards
Jacopo Costa – vibes
Elaine Di Falco – vocals
Maurizio Fasoli – piano
Pat Moonchy – electric zen garden
Giuseppe A. Olivini – percussion, theremin
Francesco Zago – guitars, mellotron, bass

With:
Bianca Fervidi – cello (1-3)
Rachel O’Brien – vocals (5)

2013 was another very busy year for guitarist/composer (and AltrOck Productions co-founder) Francesco Zago. In the summer, his new “vintage prog” band Not A Good Sign made its recording and concert debut, and a few months later  he appeared on In Between, the new album by his long-time associate Markus Stauss’ outfit Spaltklang – to which should be added his participation in original RIO band Stormy Six’s live CD/DVD Benvenuti nel Ghetto.

However, it is with the Empty Days project that Zago offers his most distinctive contribution to the rich musical landscape of the recently ended year. Featuring some of his Yugen cohorts (the ubiquitous Paolo “Ske” Botta, Jacopo Costa, Maurizio Fasoli and Giuseppe Olivini), plus Milan-based sound/noise artist Pat Moonchy and US-based vocalist Elaine Di Falco (of Thinking Plague/3 Mice fame, who had also guested on Yugen’s 2010 album Iridule), Empty Days was not conceived as a studio-only project: the release of their eponymous album in September 2013 was accompanied by a few live appearances in Italy and Switzerland, as well as at Wurzburg’s Freakshow Festival in Germany.

Clocking in at about 50 minutes, Empty Days includes 7 songs and 7 instrumentals, all relatively short, which represent the two main directions of Zago’s current musical interests: art-rock songs with brooding lyrics and ethereal melodies, and darkly rarefied ambient compositions, arranged in a neatly alternating pattern. Unlike Yugen’s intricate, carefully composed pieces, the tracks are more like impressionistic sketches created through a shimmering sonic palette in delicate patterns of light and shade.  Interestingly, Empty Days’ outstanding artwork, with its muted sepia shades and  austere layout, for once is not credited to AltrOck’s in-house graphic artist Paolo “Ske” Botta. While the cover image was provided by renowned contemporary artist Salvatore Garau (who is also Stormy Six’s drummer), the booklet is credited to Zago himself, proving the versatility of his artistic inspiration.

Elaine Di Falco’s performance is one of the undisputed strengths of Empty Days. Here she shows a different side of her art than on Thinking Plague’s 2012 album, Decline and Fall – where the music’s mind-boggling complexity forced her voice into an apparently flat, yet oddly riveting timbre. Here, her dusky contralto displays more curves than angles, lending a hauntingly soft quality to Zago’s wistful vignettes, and providing the ideal vehicle for the pensive, often rather gloomy lyrics. Only one of the songs, the well-known “Flow My Tears” by English Renaissance composer John Dowland,   is interpreted by a different singer – mezzo soprano Rachel O’Brien, whose classically trained voice adds to the piece’s mournful feel.

Di Falco’s multitracked vocals, complemented by Fasoli’s rippling piano and Costa’s gently chiming vibraphone in opener “Two Views on Flight”, weaves a magical, dreamlike atmosphere reminiscent of Dead Can Dance or Kate Bush (or even Gentle Giant), while the somber drone of the cello fits her like a glove in the delicate “Words Lurking”, echoed by Zago’s subtle guitar. “Coming Back Home” revisits one of the songs featured on Not A Good Sign’s debut in understated yet markedly atmospheric fashion, enhanced by mellotron surges and ethereal guitar arpeggios. On the other hand, “In Darkness Let Me Dwell” (another Dowland composition) and “A Dark Vanessa” (from Vladimir Nabokov’s novel Pale Fire) hinge on Di Falco’s deep, almost whispered vocals and minimalist instrumentation to create a mysterious, faintly unsettling mood. The album’s centerpiece, however, is the arrestingly beautiful “Running Water” (with lyrics by Nobel Prize winner Seamus Heaney), whose title is evoked by Fasoli’s flowing piano and DiFalco’s compelling voice, almost chasing each other in a hypnotic movement.

Ranging from the almost 6 minutes of “Kurai” to the barely over one minute of the piano interlude of“A Knife Under the Pillow”, the instrumentals, explore the instruments’ potential to build up cinematic ambient soundscapes that veer from the soothing, Japanese-inspired “The Ghosts of Dawn”, with its rarefied, crystalline sound effects, to the strident, menacing “Ananke” and “Waiting for the Crash”. The longest track on the album at almost 6 minutes, “Kurai”, with its sparse, ominous texture, slashed by sudden cascading chimes and eerily reverberating sounds, aptly reflects its title (Japanese for “dark”, and also the name of another of Zago’s projects, whose album was released in 2009). The 5-minute “Ankoku” is a spacey, faintly discordant piece anchored by Bianca Fervidi’s cello’s muted drone; while in closing track “This Night Wounds Time” piano and mellotron surge in unison, echoing between pauses of near-silence.
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As I anticipated in my 2013 retrospective, Empty Days fully deserves to be included among the year’s landmark albums. Though, not surprisingly, its main target will be the ever-demanding RIO/Avant crowd, the strong melodic quotient of the songs make the album potentially more accessible for people who are normally daunted by “weird” music. In any case, Empty Days is a thing of beauty, lovingly crafted by one of the most genuinely creative artists on the current progressive rock scene, and highly recommended to anyone who loves music that flies in the face of today’s depressing commercial trends

Links:
http://www.francescozago.com

https://www.facebook.com/FrancescoZagoMusician

http://www.altrock.it

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TRACKLISTING:
1. Almost I (6:37)
2. Almost II (3:12)
3. Not a Good Sign (7:54)
4. Making Stills (6:43)
5. Witchcraft by a Picture (7:37)
6. Coming Back Home (5:52)
7. Flow On (6:07)
8. The Deafening Sound of the Moon (4:33)
9. Afraid to Ask (3:08)

LINEUP:
Paolo ”Ske” Botta – keyboards, glockenspiel
Alessio Calandriello – vocals
Gabriele Guidi Colombi – electric bass
Martino Malacrida – drums
Francesco Zago – electric and acoustic guitars

With:
Maurizio Fasoli – piano (3, 5, 9)
Bianca Fervidi – cello (5, 7, 9)
Sharron Fortnam – vocals (5)

In spite of its rather alarming handle, Not A Good Sign –  AltrOck Productions’ own “in-house” band (as guitarist/composer Francesco Zago was one of the label’s founders in 2005) – is set to make waves on the overcrowded progressive rock scene. Although the presence of members of two major modern Italian prog bands (Zago and Paolo “Ske”  Botta of Yugen, Gabriele Guidi Colombi and Alessio Calandriello of La Coscienza di Zeno) have led some to use the “supergroup” tag, this band is fortunately quite a different animal, bringing together Altrock’s two complementary sides – its signature cutting-edge bent and a fresh, modern twist to classic prog modes. The result is one of the most impressive albums released in 2013 so far.

Not a Good Sign developed from an idea by Botta, Zago and AltrOck mainman Marcello Marinone. Calandriello and Guidi Colombi were asked to join in 2012, and drummer Martino Malacrida put the finishing touch to the lineup. The band’s live debut took place in June at the AltrOck/Fading Festival in Milan, a few days before their self-titled album’s official release, Writing credits are shared by Botta and Zago, with assistance from Guidi Colombi on one track. The band’s name reflects the current economic and political climate of Europe and its impact on people. This not exactly optimistic outlook is also reflected in the lyrics, penned by Zago, whose tense, brooding mood and use of strong imagery hints at Van Der Graaf Generator.

As other reviewers have pointed out, the most immediate comparisons that come to mind when first listening to Not A Good Sign are Swedish prog giants Änglagård and Anekdoten, and the band certainly approach classic prog with a similar attitude, avoiding the overt imitation that mars the opus of other modern bands. As in the case of both those bands, the influence of King Crimson looms large over Not A Good Sign’s sound (something that Botta and Zago have readily admitted to), though their Italian heritage smooths out some of the sharper edges. Indeed, though the album was entirely recorded in English, it also possesses a uniquely melodic touch that tempers the angularity of the heavier sections, embodied by Alessio Calandriello’s clear, versatile voice. In spite of his obvious Italian accent, he does a great job in interpreting Zago’s moody lyrics, his voice blending perfectly with the instrumentation. Drummer Martino Malacrida (the only unknown quantity of the band) proves himself an accomplished rhythm machine, tackling complex patterns with aplomb and remarkable synergy with Gabriele Guidi Colombi’s powerful yet elegant bass lines. Zago’s guitar – in full-blown rock mood, displaying a different side of his artistic personality – and  Botta’s impressive array of vintage keyboards reveal the ease born of a long partnership, sometimes embarking in exciting, Deep Purple-style duels.

Not A Good Sign admirably balances the vocal and the instrumental component, the latter often capitalizing on the main composing duo’s experience in the Avant-Prog field. Opener “Almost I” pummels the listener into submission with its explosive Crimsonian intro, its heavy, doomy riffing bolstered by keyboards, and an overarching Gothic feel. “Almost II”, led by Calandriello’s melodic, well-modulated voice assisted by discreet guitar and piano, temporarily releases the tension built up by the previous number; while the almost 8-minute title-track (the longest song on the album) introduces an element of jagged dissonance, intensified by Calandriello’s high-pitched tone and dramatic organ with hints of Goblin – an intricate, deeply cinematic piece that sums up the band’s musical vision. The instrumental “Making Stills” lulls the listener at first with its subdued, sparse texture, then suddenly turns brisk and urgent, culminating in a crescendo in which all the instruments strive for attention.

Accompanied by acoustic guitar and glockenspiel, the ethereal voice of North Sea Radio Orchestra’s Sharron Fortnam weaves her magic in a riveting rendition of John Donne’s poem “Witchcraft by a Picture”, sandwiched between two intense, riff-laden sections that would not be out of place on a Black Sabbath album. The following two tracks, “Coming Back Home” and “Flow On”, are strongly vocal-oriented – the former almost catchy in spite of the rather depressing lyrics, the latter providing a showcase for Malacrida’s assertive drumming and Botta’s Genesis-inspired Moog sweeps. With the sinister “The Deafening Sound of the Moon”, the band pack a lot into barely over 4 minutes –  King Crimson-like angularity followed by imperious organ slashes and sharp riffs intersecting with the vocals, then mellowing out with a melodic guitar solo reminiscent of Steve Hackett’s style. Then, in the short, atmospheric finale of instrumental “Afraid to Ask” Maurizio Fasoli’s piano ebbs and flows, with sudden flares of guitar-driven intensity on the steady backdrop of Bianca Fervidi’s somber cello.

Unlike most traditional supergroups, who are often much less than the sum of their parts, Not A Good Sign deliver in spades, combining outstanding technical skills with above-average songwriting. Clocking in at a mere 51 minutes, the album (mastered by Udi Koomran with his usual skill) is very cohesive, and avoids the pitfalls lurking behind overambitious, epic-length pieces. With their debut, Not A Good Sign prove that paying homage to vintage prog does not mean descending into the near-plagiarism of many albums released in the past few years. No review of an album featuring Paolo Botta would be complete without a mention for his artwork, and here he has truly outdone himself – the gorgeously minimalistic shots of vintage glassware emerging from a pitch-black background the polar opposite of the overblown, fantasy-themed art often associated with prog. Highly recommended to everyone, no matter what their prog “affiliation”.

Links:
http://altrockproductions.bandcamp.com/album/not-a-good-sign

https://www.facebook.com/notagoodsign

http://www.dprp.net/wp/interviews/?page_id=4545

http://www.altrock.it

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TRACKLISTING:
1. Snake Eating Its Tail (1:44)
2. Norrgarden Nyvla (3:03)
3. Hands of the Juggler  (4:44)
4. Rethinking Plague (3:49)
5. Presage (10:21)
6. Land Arf   (6:19)
7. Brachilogia (3:08)
8. Distillando   (4:11)
9. Crossroads (4:37)
10. Luoghi Che Aspettano (6:44)

LINEUP:
Emilio Galante – flute, piccolo
Valerio Cipollone – bass clarinet, clarinet
Andrea Pecolo – violin
Bianca Fervidi – cello

With:
Massimo Giuntoli – piano (6)

As my readers will have noticed, this blog generally deals with music that, in one way or the other, belongs to the rock universe. However, the album that will be reviewed in the following paragraphs (as the ensemble’s own name aptly points out), while conceived as an homage to a movement in whose name the word is prominently featured, cannot by any stretch of the imagination be described as rock.

AltrOck Chamber Quartet is the brainchild of gifted flutist and composer Emilio Galante, known for his work with avant-jazz ensemble Sonata Islands (hence the album’s title), who is here assisted by Valerio Cipollone (also a member of Yugen, one of the finest modern outfits in the RIO/Avant vein), Bianca Fervidi and Andrea Pecolo. The album’s witty cover artwork (a brilliant concept by AltrOck resident graphic artist Paolo Ske Botta), showing a violin adorned by Brazilian-themed images, plays on the possible misunderstanding of the word RIO  by those unaware of the acronym’s meaning. Composer Giovanni Venosta, who was responsible for the transcription of three of the original compositions featured on the album, revisits his first experiences with the Rock in Opposition movement in the album’s foreword (offered also in an English-language version, with an eye for AltrOck’s growing international following).

Recorded in February 2012 and released a few months later,  Sonata Islands Goes RIO might be  called (at least in part) a rather highbrow take on a very popular rock product such as the tribute album. Indeed, half of the 10 tracks on the album reinterpret well-known RIO/Avant compositions, while the remaining five are the work of modern Italian composers (including Galante himself) who have been influenced by the subgenre’s distinctive modes of expression. In true chamber tradition, the music is performed by a very limited number of instruments – flute, piccolo, clarinet, violin and cello – ruling out the presence of percussion, guitars or keyboards (with the exception of Massimo Giuntoli’s “Land Arf”, on which the composer himself guests on piano). While at first the result is very intriguing, even fascinating, those who are not chamber music devotees may find things a bit heavy going after a while – even if the album, at around 48 minutes, is by no means excessively long.

For the chamber-music novice, the most approachable tracks are definitely those in the first half of the album, especially the three Fred Frith compositions, “Snake Eating Its Tail” (transcribed by renowned clarinetist Mauro Pedron), “Norrgarden Nyvla” and “Hands of the Juggler” (both transcribed by Giovanni Venosta). In the second, Galante’s flute adopts a particularly assertive, almost harsh tone, while the first makes the most of the lively dialogue-like interplay of the reeds, and the third skillfully shifts from stately melody to dissonance. Galante’s revisitation of Thinking Plague’s “Love” – aptly titled “Rethinking Plague” –  conveys the  elaborate angularity of the Denver band’s sound, while adapting it to a somewhat different musical format. However, Venosta’s string-driven transcription of Univers Zéro’s iconic “Presage”, while undoubtedly faithful to the spirit of the original, cannot fully convey its hauntingly martial allure, and the absence of  Daniel Denis’ imperious drumming diminishes the impact of the final product .

On the other hand, the more recent compositions seem to  be much more suited to the minimalistic chamber format – starting with Francesco Zago’s jagged, intricate “Brachilogia7”, led by Galante’s sharp-toned piccolo. Massimo Giuntoli’s brisk, almost upbeat piano lends a sense of fullness and rhythm to “Land Arf”, whose melancholy middle section showcases Andrea Pecolo’s violin to great effect. Galante’s own composition “Distillando” (originally commissioned by the History Museum of the north-eastern Italian city of Trento) is sparse and almost ethereal in spite of the piercing tone of the piccolo, while the lilting tango of Tiziano Popoli’s “Crossroads” reintroduces a measure of melody in its engaging duet between violin and reeds. “Luoghi Che Aspettano”, penned by Stefano Zorzanello, closes the album with its ambitious but surprisingly effective combination of eerie dissonance and more upbeat, almost melodic flow.

From the above description, it should be quite clear that Sonata Islands Goes RIO is not for everyone. Chamber music in itself can be an acquired taste even for classical music fans, and the daunting nature of anything bearing a RIO label has been discussed all too often in this blog. However, the sheer excellence of the individual performances and the often riveting quality of the music should be enough to attract open-minded listeners who are looking for something more challenging than traditional progressive rock. Needless to say, the album will delight fans of RIO/Avant Prog and contemporary chamber music.

Links:
http://www.altrock.it

http://www.allmusic.com/album/sonata-islands-goe-rio-mw0002397513

http://www.sonataislands.com/

 

 

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