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Posts Tagged ‘Luca Scherani’

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TRACKLISTING:
1. La Città di Dite (6:46)
2. Sensitività (12:22)
3. Tenue (3:31)
4. Chiusa 1915 (7:04)
5. Tensegrità (7:18)
6. Pauvre Misère (7:49)
7. La Temperanza (10:38)

LINEUP:
Stefano Agnini – solina, synthorchestra, analog synths
Alessio Calandriello- vocals
Gabriele Guidi Colombi –  bass
Andrea Orlando – drums, percussion
Davide Serpico – acoustic, electric and classical guitar
Luca Scherani – piano, analog synths, mellotron, accordion, bouzouki

With:
Joanne Roan – flute
Sylvia Trabucco – violin
Melissa Del Lucchese – cello
Rossano Villa – mellotron

After the positive reception of their 2011 self-titled debut album, La Coscienza di Zeno’s sophomore effort, Sensitività, brings quite a few relevant changes to the Genoese band’s status. Keyboardist/lyricist Stefano Agnini, who had left the band prior to the first album’s release, is back in the fold, flanked by second keyboardist Luca Scherani of Höstsonaten fame (who had guested on the debut). The band have also joined the growing Fading Records roster – that subsection of AltrOck Productions dedicated to artists that reinterpret classic progressive rock in a fresh, contemporary key.

Sensitività, released in the early summer of 2013, and premiered at the AltrOck/Fading Festival, shares some features with the band’s previous effort, but is also in some ways rather different. While the number of tracks (seven altogether) has remained unchanged, and the album’s running time is only slightly shorter, La Coscienza di Zeno have decided to dispense with instrumental tracks, so that each of the songs provides a showcase for  Alessio Calandriello’s magnificent vocals, perfectly complemented by Stefano Agnini’s highly literate lyrics – a cut above the average of most prog bands. Alessio’s astounding pipes and crystal-clear enunciation anchor the words to the music, making his performance a delight even for those who do not understand a word of Italian. The eminently musical quality of the language itself does the rest, keeping the listener spellbound. Indeed, Calandriello truly shines when singing in his native language: as great as he is on Not A Good Sign’s debut album, English does not sound like a natural fit for his voice.

With two keyboardists – following in the footsteps of Banco del Mutuo Soccorso (one of the biggest influences on the band’s sound) – La Coscienza di Zeno’s sound is lush and melodic, but without any concessions to saccharine sweetness. The unmistakable (and occasionally a bit overpowering) whistle of the synthesizer is offset by gorgeously beautiful piano, while the ever-present mellotron confers the music a well-rounded, orchestral quality. Davide Serpico’s guitar is a discreet but indispensable complement to the keyboards, at times injecting some well-needed edge and beefing up the dazzling work of Gabriele Guidi Colombi and Andrea Orlando’s rhythm section. The latter’s drumming is the real driving force behind the album – in turns dramatic, powerful and understated according to need.

Each of the seven songs on the album – mostly between 6 and 12 minutes in length – can be seen as a vignette, illustrated by the stunning photography that accompanies each set of lyrics. With the exception of the short, subdued ballad “Tenue”, which aptly conveys its title (“faint, subtle”) through Scherani’s piano and Calandriello’s somber vocals, the remaining six tracks are packed with twists and turns, combining exquisite, almost catchy melodies with dazzling instrumental prowess that, however, never feels contrived or done just for its own sake. The elegant, classically-inspired piano intro to “La Città di Dite” lulls the listener into a false sense of security before moog and vocals suddenly barge in, intense and theatrical in the best classic RPI tradition – alternating majestic, riff-laden passages with gentler ones, all dominated by Calandriello’s impassioned but dignified vocals. In the title-track – one of two “epic” tracks over 10 minutes – the accordion adds a nostalgic, folksy tinge, while jazzy overtones lurk behind the powerfully melodic vocals and exhilarating keyboard runs.

“Chiusa 1915” – told from the point of view of Russian prisoners working in the construction of the railway line in north-eastern Italy during World War I – is suitably wistful, though the military tone of the drums and synth at the beginning hint at the subject matter; while “Tensegrità” (a term taken from Carlos Castaneda’s work about shamanic rites) hovers between restraint and buoyancy, with a distinct Italian feel conveyed by Calandriello’s intense vocal interpretation and the lush keyboard layers. The duo of songs that close the album blend different influences in a richly arranged tapestry. The dramatic, waltz-like “Pauvre Misère” sees Orlandi’s drums and Scherani’s piano in the starring role, merging hints of vintage Genesis and ELP with its uniquely Italian flavour; while “La Temperanza” – introduced by a splendid piano-led intro accented by flute and strings – boasts of a dense texture in which every instrument (including Calandriello’s voice) gets its chance to shine, all the while contributing to the fabric of the composition, creating a haunting Old-World atmosphere with the stately pace of a traditional waltz.

Lavishly packaged in Paolo Ske Botta’s sophisticated artwork (carefully composed, sepia-tinted still-life photographs that will delight lovers of everything vintage), while sounding thoroughly modern thanks to Udi Koomran’s priceless mastering work, Sensitività is also firmly rooted in the great Italian prog tradition of the Seventies. Although, as I previously hinted, at times the synth sounds may be a bit too reminiscent of neo-prog modes, the Italian flair for exquisite melodies and dramatic yet remarkably un-cheesy atmospheres shines through the album, and makes it essential listening for any self-respecting RPI fan. A supremely classy work, Sensitività is a grower, and even fans of more left-field fare may find a lot to appreciate in it. The band have also announced the intention of publishing English translations of the lyrics, so that non-Italian speakers will also be able to share in the experience of connecting the words to the music.

Links:
http://www.allmusic.com/artist/la-coscienza-di-zeno-mn0003137199

https://www.facebook.com/pages/La-Coscienza-di-Zeno-CDZ/145847225475623

http://www.altrock.it

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TRACKLISTING:
1. Prologue (7:00)
2. Part I (12:25)
3. Part II (9:09)
4. Part III (16:52)
5. Part IV (13:30)

LINEUP:
Fabio Zuffanti – bass guitar, Moog Taurus bass pedals, cymbals, tambourine
Luca Scherani – Mellotron, Minimoog, Korg Sigma, Hammond organ, grand piano, Fender Rhodes and Wurlitzer electric piano, accordion, mandolin
Maurizio Di Tollo- drums
Matteo Nahum – electric, acoustic and classical guitars
Silvia Trabucco – violin
Joanne Roan – flute
Edmondo Romano – bagpipe, soprano sax, tin whistle, bodhran

With:
Alessandro Corvaglia –  lead vocals (Parts I and IV)
Carlo Carnevali – recitation, vocals (Part I)
Davide Merletto – lead vocals (Part II)
Marco Dogliotti –  lead vocals (Part III)
Simona Angioloni – lead vocals (Part IV)

In spite of its name (an homage to Ingmar Bergman’s 1978 film, Autumn Sonata in the English translation, which marked Ingrid Bergman’s final appearance on the big screen), Höstsonaten -one of the many projects in which bassist/composer Fabio Zuffanti (known to US prog fans for his work with Finisterre and La Maschera di Cera) is involved – hails from the Italian port city of Genoa. Its self-titled recording debut came in 1996, followed in 1998 by Mirrorgames, and then by the four albums comprising the Seasoncycles (Springsong, Winterthrough, Autumsymphony and Summereve), released between 2002 and 2011. Though Höstsonaten is a solo project rather than a conventional band, every one of its albums has been conceived as a group effort with the contribution of a number of talented Italian musicians, some of them members of Zuffanti’s other projects (such as Finisterre, La Maschera di Cera and Aries).

Samuel Taylor Coleridge’s iconic 9-part poem, The Rime of the Ancient Mariner (published in 1798 as part of the ground-breaking first edition of  Lyrical Ballads), is one of those literary works that seem to have been created expressly to be put to music, especially in a progressive rock setting. A riveting tale of guilt, atonement and redemption set largely at sea, it epitomizes Romanticism with its heady blend of Christianity, pantheism and Gothic horror (masterfully captured by 19th-century illustrator Gustave Doré, one of whose etchings is reproduced at the end of the CD booklet). Most rock fans will be familiar with Iron Maiden’s stunning, 13-minute rendition that was included on their fifth album, 1984’s Powerslave. Indeed, Iron Maiden’s epic (by many considered a full-fledged example of progressive rock) was the original inspiration for Zuffanti’s own interpretation of Coleridge’s poem – which first appeared in Höstsonaten’s first two albums (as Part I and Part II). However, Zuffanti was not satisfied with the results, and decided to expand his vision and present the poem in its entirety (while the Iron Maiden song condensed Coleridge’s story, quoting the poet’s words only briefly), even if split between two albums, with Chapter Two’s release planned for 2013.

The ambitious scope of The Rime of the Ancient Mariner (as well as its respected literary source) will remind dedicated prog fans of the the numerous Colossus Project CD sets released by Musea Records in the past decade or so. Zuffanti himself has frequently collaborated with those endeavours, and graphic artist/drummer Davide Guidoni (one of Colossus Project’s mainstays) has contributed his accomplished artwork to the disc. Coleridge’s original text is interpreted by four different singers plus a reciting voice. As good as the vocal performances are, however, the music is the real strength of the album, effectively conveying the dramatic development of the story – from the joyful departure of the ship to the culmination of the tragedy caused by the Mariner’s wanton killing of the albatross, the “bird of good omen” that steers the ship through a deadly ice field.

The instrumental “Prologue” sets the scene with ominously tolling bells and the haunting sound of the waves, then builds up to a rich tapestry of keyboards (manned by Luca Scherani of La Coscienza di Zeno) laced with violin and Matteo Nahum’s stately, melodic guitar. Though the Genesis influence hovers on the whole album, Zuffanti also introduces heavier elements to bolster the work’s quintessentially dramatic nature. Part I (with vocals by La Maschera di Cera’s Alessandro Corvaglia, assisted by long-time Zuffanti collaborator Carlo Carnevali) is the most consistently symphonic episode, juxtaposing lush keyboard textures, choral mellotron and melodic guitar with the lyrical touch of the violin and the pastoral sound of the flute, and then gradually increasing the intensity quotient, leading to the mournful, melancholy mood  that accompanies the killing of the albatross.  After a deceptively subdued opening, Part II quickly builds up to a powerful climax, with roaring Hammond organ and synth slashes complementing Davide Merletto’s vocals, while some sax inserts add interest, and the eerie, rarefied sound effects at the end aptly convey the plight of the ship becalmed in the middle of an empty ocean.

Part III (at 16 minutes the longest track on the album) marks a definite change of pace, often veering into prog-metal territory and bringing to mind the melodic yet powerful style of bands such as Symphony X. Marco Dogliotto’s clear, assertive tenor (reminiscent of a less histrionic James LaBrie) navigates the shifts in the narrative with confidence and flair, while Silvia Trabucco’s violin alternately soothes and roars, sparring with guitar and organ in almost aggressive fashion. The slow, inexorable approach of the ghost ship is rendered in a chillingly understated way; then the music gains momentum once again to describe the death of the ship’s crew. Piercing bagpipes at the opening of Part IV convey the plight of the Mariner, alone on a ship with the corpses of his mates, whose staring eyes curse him. Corvaglia’s vocals blend with Simona Angioloni’s pure soprano, and the folksy suggestions are reinforced by the use of typical Celtic instruments such as the tin whistle and the bodhran, as well as the accordion, which perfectly complement the wistful, romantic note of the violin. Then, grandiose mellotron and powerful riffs, propelled by Maurizio Di Tollo’s imperious drumming, lead to the climactic moment of the Mariner’s redemption.

The Rime of the Ancient Mariner – Chapter One keeps to a restrained running time of about 58 minutes, and I have to applaud Zuffanti’s choice of splitting such an ambitious endeavor in two parts, rather than  releasing a double CD that would have probably been indicted as overly pretentious. Displaying all the symphonic splendour of the golden age of prog, with a tantalizing sprinkling of folk and jazz influences and occasional forays into metal territory, the album manages nevertheless to sound modern (though obviously not “innovative”), avoiding the unabashedly retro stance of some highly praised releases of the past couple of years. Moreover, the lasting appeal of its literary source removes that whiff of cheesiness that often accompanies such ambitious productions. Highly recommended to fans of classic symphonic prog, with particular regard to the Italian school, The Rime of the Ancient Mariner – Chapter One is a very accomplished effort, and a loving homage to one of the milestones of English-language literature.

Links:
http://www.myspace.com/hostsonaten

http://www.zuffantiprojects.com/

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