Feeds:
Posts
Comments

Posts Tagged ‘Jacopo Costa’

39375d_c617b1137850bbcf7edf8f58a463cf51.jpg_srz_p_335_335_75_22_0.50_1.20_0.00_jpg_srz

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.
:
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

Advertisements

Read Full Post »

yugen mirrors

TRACKLISTING:
1. On the Brink (0:59)
2. Brachilogia7  (3:09)
3. Catacresi5 (6:39)
4. La Mosca Stregata ( 0:57)
5. Overmurmur (5:30)
6. Industry (7:50)
7. Cloudscape (10:38)
8. Ice (1:55)
9. Becchime (12:38)
10. Corale Metallurgico (9:19)

LINEUP:
Paolo Ske Botta – organ, electric piano, synth
Valerio Cipollone – soprano sax, clarinets
Jacopo Costa – marimba, vibes
Maurizio Fasoli – piano
Matteo Lorito – bass
Michele Salgarello – drums
Francesco Zago – guitar

Founded in 2004 in Milan (Italy) by guitarist/composer Francesco Zago and AltrOck Productions mainman Marcello Marinone, Yugen (a core concept of  Japanese aesthetics that can be roughly translated as “profound grace and beauty”) took the progressive rock scene by storm with the 2006 release of their debut album, Labirinto d’Acqua – a supremely accomplished slice of chamber rock following in the footsteps of the original Rock in Opposition movement. Their second album, Uova Fatali, came two years later, and was based on music composed by Stormy Six’s Tommaso Leddi; while their third effort, Iridule (2010), was widely hailed as a masterpiece of the RIO/Avant subgenre.

An ensemble rather than a conventional band, Yugen revolve around a core group of Zago, keyboardist Paolo Ske Botta (often mentioned in this blog for his work as AltrOck’s in-house graphic artist) and pianist Maurizio Fasoli, joined in 2008 by reedist Valerio Cipollone, and augmented by a number of high-profile guest artists (including  mainstays of the US Avant Progressive scene such as Dave Kerman, Dave Willey, Elaine DiFalco and Mike Johnson,  and Guy Segers of Univers Zéro fame) In September 2011, almost exactly one year after Iridule’s release, the band appeared at the fourth edition of the Rock in Opposition festival, organized in the southern French town of Carmaux. Their performance as a seven-piece –a short excerpt of which is featured in Adele Schmidt and José Zegarra Holder’s documentary Romantic Warriors II – was captured on CD with the assistance of Orion Studios owner Mike Potter, and released at the tail end of 2012 with the title of Mirrors.

Though some may have wondered about Yugen’s ability to recreate Zago’s astonishingly intricate, painstakingly orchestrated compositions as a mere seven-piece rather than as an ensemble of up to 18 musicians (as in their studio albums), any doubts will immediately be dispelled by the sheer quality of the performances recorded on Mirrors. In spite of the constraints –  such as the allegedly short time dedicated to rehearsal – the band as a whole handle the complexities of the music with remarkable flair, without sounding cold or clinical as the highbrow quality of the material might suggest. While Zago’s main sources of inspiration as a composer (as pointed out by Sid Smith in his excellent liner notes) lie in both Renaissance and 20th-century classical music, his earlier rock roots often surface. His dense guitar riffs provide a backdrop for the constantly shifting dialogue between reeds and keyboards, bolstering the impeccable work of Michele Salgarello and Matteo Lorito’s rhythm section – which tackles daunting tempo changes with admirable composure. The music blends sharp angles and smooth curves, flowing naturally even at its most intricate, with melody lurking in the most unexpected places and revealing the unmistakable Italian imprint of this quintessentially cosmopolitan outfit.

The almost 60-minute album features 10 tracks drawn from Labirinto d’Acqua and Iridule, rearranged so as to adapt to the more rigid configuration of a live band. The longest, more intense compositions are concentrated in the second half of the album, which is introduced by a stunning version of Henry Cow’s iconic “Industry” (from the English band’s final release, 1979’s Western Culture). With their deeply intellectual titles reflecting the nature of the music, the compositions are arrestingly complex, though with a sense of organic warmth that is sometimes lacking in the production of highly celebrated bands belonging to the same movement.

Introduced by the dramatic drums and piercing, sustained guitar of “On the Brink”, the set unfolds with two tracks from Labirinto d’Acqua. The shorter “Brachilogia” weaves a sinuous, slightly dissonant tune, beefed up by guitar riffs and high-energy drumming, in which clarinet and marimba share the spotlight, interspersed by subdued piano passages; while “Catacresi” fully deploys Paolo Botta’s arsenal of keyboards, ranging from the sharp whistle of the synth to airy, atmospheric passages that would not be out of place on a Genesis album, creating a sort of cinematic tension. The instruments at times converge in perfect unison, at others pursue their individual paths, though with a constantly perceptible sense of inner discipline.

After the brief respite of “La Mosca Stregata”, “Overmurmur” barges in with an almost strident, apparently chaotic development, each instrument thrown in sharp relief, gradually mellowing out towards the end. The aforementioned “Industry” renders the martial, intense mood of the original, though softening its abrasive quality and spotlighting the deep, slightly hoarse rumble of the organ. On the other hand, “Cloudscape” reveals a different facet of Zago’s creative inspiration, its 10 minutes a masterpiece of skillfully handled atmospherics that paint a breathtaking sonic picture of the title. The track develops fluidly and elegantly, its sounds beautiful and melodic albeit not in a conventional, mainstream sense, slowing down almost to a whisper before the end. In the short, entrancing “Ice” – originally conceived as a showcase for Elaine DiFalco’s distinctive contralto, with lyrics by Nobel Prize winner Seamus Heaney  – the vocals are replaced with a wistful clarinet line redolent of Debussy, preparing the listener for the one-two punch of “Becchime” and “Corale Metallurgico”. The former is the kind of composition that is likely to send fans of melodic prog running for the exits, and makes indeed for demanding listening. Unabashedly cerebral and gloriously intricate (and twice as long as the studio version featured on Iridule) its multiple, angular twists and turns and bristling sound effects evoke the squawking of the chickens referenced in the title (becchime means “chicken feed” in Italian). Also true to its title, album closer “Corale Metallurgico” conveys a powerful industrial feel, with peaks of intensity ebbing into rarefied pauses, and moments of almost unbridled chaos suddenly morphing into a dynamic flow.

Presented in a visually stylish package with outstanding artwork and photography (courtesy of Paolo Botta, Lutz Diehl and Alessandro Achilli), as well as Sid Smith’s thought-provoking liner notes, Mirrors captures one of the foremost standard-bearers of contemporary cutting-edge progressive rock at the very height of its creative powers. Although the music may not always be what one would term accessible, even staunch followers of the more traditional branches of prog might find something to appreciate in the album’s pristine beauty. An absolute must for fans of RIO/Avant –Prog and chamber rock, Mirrors is sure to go down as one of the standout releases of 2012.

Links:
http://us.myspace.com/yugenband

https://www.facebook.com/Yugentheband

http://production.altrock.it/

Read Full Post »