No.6 - november 2016
omosumo starting from us
denis the night
Interview omosumo starting from us Interview denis the night & the panic party: No plans on the table Interview Erica romeo: overcoming the drawbacks
interview klee project
review the welkin
reviews interview demeb
interview ru fus
interview give vent
interview mirko filacchioni
TRAKS MAGAZINE www.musictraks.com Editor in Chief: Fabio Alcini email@example.com
Omosumo we wanted to start from us Omosumo publish a new, self-titled album, released on November 11. After the curious and remarkable case of Surfin ‘Gaza, this time the group talks about exodus, gives more space and weight to the lyrics, puts a mysterious
“Mother Blue” on the cover and goes into electronic plains of great impact. “Surfin ‘Gaza” was born from an encounter between Arabs and Israelis on surfboards. What is the concept of new album?
The record speaks of an exodus: part of the population decides to leave this place in the face of another condition. Abandoning any type of unit, starting from the concept of time, the division of space, of each measure
and sub-measure, the meter, the liter, until you come to love. You have chosen to sing every verse in Italian and it seems that the lyrics have gained importance in the balance. Why?
We thought this record was to enjoy unity even in language and we liked to do it with our own. There is special attention not only in the writing of the texts, where we tried more than ever to leave nothing to chance, but there are also different sizes of text. We connected all visually. While “Blue Mother”, the cow on the cover, is our Ark, the other
texts through symbolically size. There are land texts, texts by half and texts of the sky. All connected not only from the concept of exodus to an unknown size, but symbolically connected the one with the other. You’ll know by looking at the inside of the disc, which is also symbolically explained everything. Part of the symbols that are in close connection
with the texts, were also issued prior to our Facebook page. The lyrics speak of feelings and memories that are related to what you want to leave, emptied of everything to let fill the new, without pretending to bring along and beyond their past experience, because that does not count, or at least , not so much to have the claim to assert necessarily something. so ready to know how to listen. You searched for the isolation in country houses uninhabited for the work on the album. Can you explain why? Many times we return to the countryside as a place where we can enjoy some introspection and moments of improvisation placeless and timeless. The campaign brings us into a new world and more and does not force us to schedules or meetings that can divert your attention on things. The few distractions we had were a couple of horses or two three sheep, two dogs, a few chickens. And this withdrawal size has a great influence on our concentration. He has affected a lot. How is it born “Sui tramonti di Seth”, the most ambitious song of the entire album? Sui tramonti di Seth is a song that has undergone several evolutions. We went back again and again and in several directions, until we have found the right one that has led us to synthesize the rhythmic language in one way and the instrumental in two key moments both primitive, with an evocative aspect, shamanic and full of omens. I am well aware that you have declared a need for “deratization” in today’s musical world... but I have
to ask you: who are Italian independent artists that you value the most? When we decided to start writing, we felt the need to lock ourselves in us to go beyond what we knew to do. It looks and it is an ambitious project. We wanted to stay away from the conditioning of listenings and we did not want that the usual European singer in vogue telling us what it was the last sound trend to use to get you to say from Italian people that it was is cool because it sounded “European”. We wanted to start from us, from what we do and what we would have written beyond what is routine. We closed to confess what we wanted to write, and with the tools we had. Many sounds are the result of research and a craft reasoning. Some are born well by mistake. For the rest, we are not very happy with the Italian scene, and we do not believe we can talk about a real independent scene.
denis the night & the panic party
No plans on the table Denis The Night & The Panic Party can always reserve some good surprise. Many of them contained in a work like Cosmic Youth, first LP, which comes after very prestigious experiences on international stages such as Primavera Sound Festival in Barcelona, â€‹â€‹Indie Music Week in Manchester, Liverpool Sound City. We did an interviewed with them.
Behind you there are eps, international experiences of great prestige, but now here it comes lp... We had this record ready for a while, to be honest, but we preferred to launch side pills and outputs, remixes, featuring, resulting from our artistic encounters and make lo_fi versions, if anything, even of the same tracks,
Taking into account that you were never still in recent times, what kind of birth and growth have had the songs on this album? In fact, the songs on this first album are the result of a long work process, rather uneven and definitely creative. In the sense that none of us thought at first to conceive an album. When there was going to write a song, we wrote. And we wrote using the tools at that time, that given day, we had available. Then it happened - at times - to create wacky drafts between synthesizers, strictly lo-fi filters and pedals (we were almost always surrounded by cables, wires, electrical sockets hanging out in the room) to give birth to a melodic or rhythmic cell to be developed; other times, however, everything started from a bass or guitar as of Lorraine and Bodyguard. In every season we can say, a couple of songs, and perhaps in the tracks that you perceive. Why did you choose “Androgynous Love” as the first track and as a single? It is the song that resembles more to us. It does not take itself too seriously, however, has all the credentials to be taken very seriously. Rhythmically and melodically it is quite eye-catching, seems to pop but it’s not, it looks funky but not quite, a bit 90s, but only in part. Let’s say that it is probably the song most of the beach disco party, and listened to the evening by the sea with beer and cocktail in hand makes her curvaceous figure. How is it born “Lorraine”? Two versions were designed. On the record there is of course the official version, the first born. On the web and in our previous ep you can hear a soft version, electronics, intimate and minimal. Lorraine from Cosmic Youth came to light an autumn morning two years ago, from a bass to which we sticked a guitar riff and an improvisation vocoder. “Wow”
waiting for someone to start to wait a bit for this work. The concerts and international outputs are growing, someone wants a lp of Denis in the house really?! There it is! Meanwhile, we are already ‘beginning to work on the new album. What will be will decide as things happen. No plans on the table, as always!
interview was our exclamation! Then we played immediately an electronic drum track and an acoustic drum track and then, incomplete, without voice melody, we left it in the drawer for more than a month without knowing how to complete it. We wrote other things in the meantime, no longer thinking of those overlapping riffs until months ago. One morning, however, listening again after so long, it seemed clear that the vocoder improvised in faux English sang something. ‘Lorraine’ was the word that always seemed to repeat at some point of the tour. The rest, came spinning: melody, lyrics, and final floor of tune recorded at home ... looking back, we did not put the pink bow after birth :)! After great and important festivals in Barcelona, Manchester, Liverpool, you have also performed at the Paris Festival MaMa: how is it gone and how it was your exhibition? We did not have any expectations, but we worked so hard on the show and we gave everything in that live. It went very well: we were greeted warmly by the organization of Mama, from the local art director in which we played (Bus Palladium) and where we’ll probably return, by the French person who, we had already met at the concert held last year at L’International (the first Parisian club that believed in the project from the beginning). Can you tell the instruments you used to play on this record?
There are not many secrets regarding the instruments used, we simply entrusted to machines and tools we had already, instruments even with a very low cost, in short, we have given priority to all the little analog devices is to generate sounds for other filter it. Another important role was that of the computer that has allowed us to leverage the power and ubiquity of digital software for more sound experiments. For new compositions, we’re dipping there, we will have new better quality equipment and most sought after so you can still experience more editing sounds. Who are the Italians independent artists that you value more right now? Without too many reasons beyond the pleasure of listening, Niagara, Verdena, Martello, Two Monkeys, Bruuuno Belva, Motta, Colapesce, Gli Ebrei, Marta sui Tubi, Zolle, Go!Zilla.
Erica romeo overcoming the drawbacks
Erica Romeo comes back with a new ep, Beyond the nettles burn, an expression for strength and tenacity, expliacted in six songs full of electronic and melody. Let’s start with the title of the ep, which I believe deserves an explanation ... “Beyond the nettles burn” is a phrase taken from the lyrics of “Daisy”, three track ep number. Figuratively “burn nettle” is intended to indicate the drawbacks of life (English is wonderful) and it is the common thread that binds all of the songs on this album. Go beyond the drawbacks, with strength and determination to overcome them and live them as a test that has as its ultimate objective the inner growth and not simply passing the test itself. Burning nettle that I inadvertently had as a child during my walks in the mountains, taught me how to look good to put your feet, but most did not prevent me from reaching the top. Although the burning could discourage me the joy of being able to live fully my mountains, it gave me the strength to which the children are often capable, who unlike many adults are getting ready to mutate into a pout smile. A curiosity: in the title I decided to put the plural “Nettles burn”, because after all, as my friend British-Roman Thomas says, “life is more a thicket than a single twig.” With the previous “White Fever” you faced an electronic turning point that changed your music. This ep instead it seems to address a consolidation speech. How did you approach the workings of the ep? When I did finish “White Fever” I felt that something appeared incomplete, but that record was to get out at all costs, even at the risk of sounding premature. I needed a confrontation with the public and critics, to better understand the things of me that until then had not matured. It was the best choice I could do.
“Beyond the nettles burn” was born with “Daisy” and “Blue Moon”, the last two songs that I composed with the guitar: after them I am dedicated to the keyboard and it was love at first note. The transition seemed very smooth and natural, as if I had finally found my way after many years of wandering between songwriting, folk and rock. It seems to me that there is often a contrast between some lyrics and the same ep title, expressing difficulties and clutch situations, with sounds often ethereal or even happy. From what moments and inspirations are born the songs on the album? As I mentioned earlier, “Beyond the Nettles burn” is a concept album: each song tells an aspect of my life, although the pivotal point of all is the same, namely to overcome the obstacles that life puts in front, whether it’s live moments of joy, sadness, hope or disappointment that this has taught me is to know how to live each moment as a gift to be thankful for and to know how to treasure. As a child, although I had a particular family situation, and even as a teenager dealing with the sudden loss of my father, I always kept in my heart the desire to smile. I suffered, I admit, but over the years I have learned to make sense of everything, even the negative things, always learning. And this is what I express in Beyond the Nettles burn. In “White Fever” you were talking about Indians, Bonnie & Clyde... Here it seems that the approach is more personal... “White Fever” contains lyrics for me very important, that not only talks about Indians and invasion, but that wants to question some dramatic inconsistencies of the Western system. It’s a side of me still alive and well, although for this album I preferred a seemingly more personal approach. I say “apparently”
interview “Blue Moon” reminds me of the 90s trip hop scene, Morcheeba and company ... Do you find yourself there? Ear caught! Yes, it’s true: it reminds me of Zero 7, band I know little, but I appreciate, and trip hop. It’s a genre that I have always listened to and I never thought that a guitar track / voice as “Blue Moon” could become what it is now. About Daniele and Federico, but above all by Andrea and his bass lines: it is thanks to him that we decided to include the song in ep, because before his speech, it did not convince us at 100%. During the last interview I had asked of you in your dislikes indie world ... This time we change a little: who do you value the most among your colleagues? Yes, you have been very bad and I had joked, because I don’t dislike anybody (lie), and even if they did not I would be certainly to flaunt on the web... I’m thinking of those who truly appreciate and there are lots of names: between many immediately come to mind Lara Groove, which is a band of Milan really tough and it deserves a better chance; I really like the Ligurian songwriter Chiara Ragnini, which is good and at the same time humble and gentile.Another group who would wish to lead the way are the Slowtide, talented band from Novara. Two consecutive ep: Do you join the club of those who think that the lp is old stuff? Or in your future projects is an “extended” job? You’re right when you say that, because it is almost more common the ep than the lp. I’ll tell you, there was an argument about this choice, but a necessity: to do an ep is cheaper and it can be more compact in sound. Soon I do not know what I will do, a lot depends on this ep... Cross your fingers for me!
because it is not an autobiographical description of episodes of real life, what images and stories that allow me to express a thought that is always linked to the concept of the ep. About the team of musicians, how important was the fellowship for this new ep? I actually only confirmed the bassist Andrea Cocilovo, which in previous work had recorded the drums and that since last September with me in live. He has added his brother Daniel, who in addition to playing keyboards dealt with arrangement of some songs in “Beyond the Nettles Burn”. The harmony with the Cocilovo Bros is very deep and is based on mutual personal and professional respect. Technically they are the best musicians I’ve ever played, so I consider myself very lucky to have beside two professionals who believe and invest in the project. For the production of Federico Altamura: it has adopted the same approach, or has anything changed? The difference in production there was for two reasons: there has been much inter-play between Daniel and Federico, who oversaw the sounds of all the songs, and this has created a kind of heterogeneity among the songs. Also thanks to crowdfunding we had a larger budget that has granted us more freedom: for example, I decided to do the master with Massimo Caso, an important name in the Italian music scene. Why did you choose “You’re gonna go” as a calling card of the disc? “You’re gonna go” is great. It has a beat you can’t escape, you have to move your foot to force things, and then it’s the first electronic song I wrote with the keyboard. The chorus opens dramatically, sounds are beautiful, the song is catchy. I think it’s a bomb.
Klee project Experienced musicians, with important collaborations and militancy in their résumé, one day they decided to join forces and play a solid rock. But with the help of an rchestra. So can be described premises and sensations evoked by Klee Project, a project set up by Roberto Sterpetti & Enrico “Erk” Scutti, with
the help and collaboration of Marco Sfogli, Lorenzo Poli and Antonio Aronne, with symphonic orchestra directed by Francis Santucci and other collaborators here and there. The album is called The Long Way and we have put a few questions to Sterpetti and Scutti. Can you tell how did the “Klee Project” is
cliché or market influences. The reference to the moniker clearly goes to Paul Klee, a painter who has made the greatest contribution to a new painting with a great, rich and varied artistic personality, being also an excellent violinist and a lover of classical music. Can you explain the reasons of playing with the orchestra? The fact of not having path obligations allowed us to roam the arrangement factor in a very open way, by putting in place all the knowledge that we have accumulated both in our artistic path. In particular I was always been fascinated by the symphonic orchestrations and I do not deny that I wanted to become a conductor. My way of thinking is very special then, just consider the fact that in adolescence I only listened to Beethoven and then I found myself listening (by my neighbour), AC / DC, Saxon, Iron Maiden... In your traditional hard rock sounds, synthetic sounds and orchestral recordings are mixed in many pieces. Was it difficult to find a proper balance between the various “sources”? In fact it was not easy to produce such a rich of elements and sound album. Often we had to make choices and take out the arrangements to which we were bound in pre-production, to create the right sound levels and to get our music to a wide audience that would love it in all its facets. The gratifying thing is that even people away from rock can appreciate our songs, because rich in elements that do not recall a single genre. How is it born “The Prisoner”? It is the first song written for the Klee Project. Created almost by chance, we wanted to write a song in Evanescence and Avenged Seven-
born? Do the name has something to do with the painter? Everything comes to the desire to express something that represents us from the musical point of view, but also from the staff, who brings in music a variety of feelings and experiences without the obligation to follow any
and why? Destrage, Anewrage, Celeb Car Crash, Brain Distillers Corporation friends and bands that we value because in their respective genres are defining a captivating sound without compromising quality. This is the same goal as we do. Can you name three songs, Italian or foreign, that did have influenced you the most? More than the songs we could speak of bands that influenced our sound. Artists like Nickelback, Alter Bridge, Shinedown, Foo Fighters, but also bands like Depeche Mode, Genesis, Marillion, Def Leppard joined electronic components and orchestrations have sought our matrix. The whole thing was very spontaneous and we have written with heart and passion jet everything we wanted to express, without limits.
fold style, and we combined the elements that we liked in particular: the power of metal, electronics and symphonic atmospheres. We were so pleased by the result that we decided to follow up writing the album. Can you describe your concerts? What are the next dates that will see you involved? First of all we hope to reach as many people as possible. For the moment we have no due dates. Itâ€™s definitely a bold choice, but it makes sense. We wanted to focus our efforts in communicating a musical message through social media, with video clips, photos and everything that revolves around the musicians of Klee Project, in order to create a community of followers and fans who follow us in the future, live . Who is or who are the Italians independent artists that you value the most right now
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The Welkin With roots sinking to 1998, Welkin are a rock band from Treviso with many years and many concerts behind. But not very many records: numerous lineup changes and the normal difficulties that a band can meet on its path has delayed their publications. Comes out these days The Silent Way, a record of six tracks that condenses the ancestry of the metal band, not denying the classical age, but trying to develop it taking into account the more contemporary sounds.
The work opens with Turn to me, announcing immediately some nostalgia for the metal that was, though married, as mentioned, with rhythms and sounds much closer to contemporary to alternative. It continues with a robust and concrete My Enemy, who does not mind some guitar solo at the end, in an overall noisy context. Rough and a little dirty is Edge of Life, a pace not exaggerated but with guitar always protagonist, and with a bit of Van Halen sound. Crossing in the
Dark highlights the vocal quality and still relies once again on the electrical patterns. Tiny Things confirms previous sensations and even some propension for melody. The closure is very substantial, with Nightmare (All my sins), between the noisiest of the ep. The ep will be appreciated by metal fans. Some extra variables, for next works, would be a welcome addition for the band.
reviews gran rivera “pensavo meglio/ pensavo peggio” Gran Rivera publish an lp on two different legs. First one, Pensavo meglio released in mid-September, then Pensavo peggio, due out in mid-December.Alubm is composed of a total of eight tracks, reworked and recorded in almost two years, chronicling the life in Milan after 30 years of age. Pensavo meglio comes after Aventador, band’s debut, in 2013, which was followed by a long tour across Italy. This double-ep opens so noisy with Mi hai lasciato al superkmarket: relational problems are made explicit thanks to a good bass line and a powerful sound. A symbol of the post-30 in Milan is Commozione in Circonvallazione, a song that triest tell about the city starting from the basement and the house facades. In fondo al Naviglio non c’è niente chooses synth pop roads but always fast and rhythmic, with drumming takinga good share of attention. Uova sode ends the first ep with rhythms and approaches that bring to mind the first Foo Fighters. But the lyrics nails to the floor of the house, between waste to throw and relationships with some problems that a noisy guitar can’t resolve. Se inizia a vent’anni finisce opens with noise from the bar, immediately pressed
by bombastic sound, fast rhythms and despicable football references. Luigi confirms that in second part the intention is the one of beating and to accelerate. Mai stati Capaci brings moments of reflection, slower rhythms, memories of the Nineties. Se qualcuno potesse chiamarmi un taxi lists a number of possibilities. The song is slightly depressed although, but even in this case there are powerful acceleration and a little healthy noise. A lot of energy but also a bit of irony are present in the Gran Rivera tracks, often well written and always pleasant. Breaking in two the album has the effect to keep the lights on on the disc for a longer period. But also the average quality of the songs, beyond the marketing operations, deserves attention and interest.
piers faccini “i dreamed an island”
Multi-instrumentalist and also painter, Piers Faccini released his new album I Dreamed An Island. Sixth album for a solo career by Italian-French, came out for Beating Drum / Ponderosa Music & Art / Music Master, the new work comes two years after Between Dogs And Wolves. Sung in English, French, Italian and Arabic dialect, the album is a passionate celebration of cultural diversity and pluralism.
In Faccini record several stringed instruments are played, including a custom guitar by the addition of mini-keys to play in the major tones. The lp opens with a step already important: To Be Sky is a clear statement of intent and a consistent track with apparent ethnic folk contamination already present but not predominant. There moves on oriental steps with Drone, with a mixture of spiced tools but soft. A little more lively rhythmic idea comes with Bring Down The Wall, again with some idea of the East in the background but also more Western folk sensations. The piece comes to life with new personalities and also mixes some rock-blues idea (you can come up with Pino Daniele, a bit for singing, a little for certain rhythmic choices and mixing). Cloak of Blue is part of the softest and linear areas, wrapped, as often in the album, in colorful fabrics d’Arabie distant. The Many Were More comes in slightly more pointed shape but not exceed either in rhythm or in volumes. There is something Hispanic in the initial guitar of Judith, who then takes a leisurely pace but with a well exposed emotional side. Shadows surround Beloved, with voice in evidence. We jump to Sicily with Anima, full of life ballad sung in dialect and suitable to dance. Comets sits on more muffled rhythms, leaning on a songwriting a bit more traditional but with some sound variable always present. Last track is Oiseau, soft ballad between the Middle Ages and the Renaissance, with a large intake of stringed instruments. Very rich of emotions Piers Faccini record is also very “hot”, for colors
and sound selections, but also for high-level production choices. Faccini confirms its quality of songwriter with great taste.
Julian Mente “Non c’è proprio niente da ridere”
New lp for Julian Mente: Non c’è proprio niente da ridere brings together emocore, punk, noise, wave. Start is not quiet: Mentre lei dorme reminds of some 90s rock, peppered with liberal doses of vigor and rancor. Terra-cielo slightly lowers the rate but not the level of aggression. Stare bene oggi welcomes large doses of melancholy in its tissue. In dark alleys we can found Se solo tutti noi, punctuated by eerie silvery sounds. Strange rhythms the ones of Il tasto Off, which changes the face a few times. Tons of good feelings are burned in the bonfire lit by Le belle giornate. It also happens some little softening, such as the one at the beginning of Maledico. Particularly heavy Se chiudi gli occhi, and no possibility of misunderstanding in Porno, followed by a quieter Farfalle nello stomaco: no stops to meditate, but the song is almost a ballad, at least by the standards of the band. Lo squallore disgraziato starts softly, but soon it becomes angry. Ottomila closes with poorly controlled explosions of rage to follow. A really interesting album.
Demeb supposed growth Demeb is a (absolutely mad) jazzcore duo whose second lp is Rebubblica, new record of six tracks (available at the website and contacting demeb.org the band at floppy@ demeb.org). After the release of the previous Urban Flowers, the duo confirms to be fool and ironic as before. We interviewed them to talk about their new work. What differences there have been in working to the new album, compared to “Urban Flowers”? The record comes from the usual story of the Concept (which is so dear to us) then work
on this and that cut that, it turned out that the “lp” became “ep”. Then if you go listening, the difference is in our supposed growth and better technology available (including tools and all the rest of the network). What were the main difficulties you encountered in making the disc, if there were? Not many big difficulties, apart from the usual going mad at 6th or 7th hour of work; then you know, the Moretti beer helps to overcome even the most gloomy days! How did is born “Il Rap Jazzcore dell’anarchico Pinelli”?
Well, here the story gets to be 18+, but we can say that the Father is like the bee who lands on the flower which is the Mother and so was born “Il Rap jazzcore dell’anarchico Pinelli”. Who is or who are the Italians independent artists that you value more right now and why? First and foremost Mauro Mariotti who is also a friend, then also the other type Lightpole friends, Little Pieces of Marmelade, the Meatball Explosion then really boh ... why is “why NOT ?!” You can name three songs, Italian or foreign, that have influenced you the most? For me that woodpecker skins one for all is “Ho Fatto la Cacca” by Mauro Pelosi (most for lyrics actually, although the music rocks very much) then I quote “Gateway 5/4” of Don Ellis and the mythical “The Revolution
Will Not Be Televised “by Gil Scott-Heron; for me, slamming chords, there is “Beasts of Leather” of Splatterpink, then also “Tommy the Cat” of Primus and the rainbow “Oh! Battagliero!” of CCCP Fedeli alla Linea.
debut I had begun to sketch, give it a final shape to create an album that was another step forward both in terms Musically that the narrative; the cover does not have a particular value, as they are simply a lover of visual representations of desolation, abandonment and things like that I felt this “fantastic” building which is located in my town the ideal for this kind of a bit ‘albums to which speaks a little ‘how to talk about it. Why a track named after Pacciani and what inspired you in the person of (likely) Monster of Florence? I am very fond of many facets of the human mind and the nature of serial killers in particular has always struck me. When I felt the inspiration to talk about it in a song I then
Ru Fus (ex Zen Cirucs, The Bugz, Reverberati) is Emiliano Valente, with friends and collaborators. His new album is called In Fabula: twelve tracks of noise rock with grunge contamination, an expression of power and anger of which we asked to their author. I would like to understand what are the conditions with which you have accomplished “In Fabula”, and also the meaning of the cover of the album. The premises were simply continuing the good work of the debut released in late 2014 to work on the pieces that then an exit of
tacked on the history of Pacciani, which I consider unresolved and still full of mysteries that hardly now be unveiled. How â€œRemember Graceâ€? was born? Musically as almost all my compositions, that is, with acoustic guitar, text instead briefly narrates the encounter in a dream with the soul of a girl of the past in spite of its protagonist one of the first murders in Tuscany that had much media hype, and that happened in village of Toiano in the Fifties. Can you tell the main instrument you used to play on this record? I use acoustic guitars Takamine at 6:12 strings, Fender Jaguar, vintage Stratocaster and Gibson 60Tribute for the electric guitars, various effects pedal boss, marshall Valvestate for amplifier and Fender Precision bass, for drums Tama model and Shure series for mi-
crophones. ) Who is or who are the Italians independent artists you admire most in this moment and why? I know little of Italian scene, I appreciate good bands like the roster of Ghostrecordlabel like Day After Rules or The Instable Collective and I think Cromosauri, the Tuscan post-grunge band, are very valid.
birthh Born in the Woods is the tour with which BIRTHH, born Alice Bisi, carries around her debut album released last March 18 for WWNBB . After the successful tour that has seen her perform in more than 30 concerts, including the prestigious American tour, started with her participation to SXSW Festival in Texas, appointments continue with the young Tuscan singer-songwriter who will play in trio with Lorenzo Borgatti and Massimo Borghi. Artist of the month on MTV New Generation with the video for “Queen of Failureland”, BIRTHH has enchtanted audience with her rich, but at the same time delicate, voice, and her remarkable maturity both in writing and in the composition, despite young age. The tour also includes some European stages
including France, Germany and Luxembourg. 11/16/2016 - PERUGIA - 100dieci 11/19/2016 - BOLOGNA - Covo 11/20/2016 - S.TA MARIA A VICO (CE) SMAV 11/26/2016 - VANNES (FRANCE) - Echonova 11/28/2016 - KOLN (D) - Underground 11/30/2016 - Fuerstenwalde (D) - Club Im Park 12/01/2016 - CHEMNITZ (D) - Odradek’s Nest 12/02/2016 - LEIPZIG (D) - Wärmehalle 12/05/2016 - DORTMUND (D) - FZW 12/06/2016 - LUXEMBOURG - Rotondes 07/12/2016 - PARIS (F) - Ciao gnari
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Give Vent Days Like Years is the first lp of Marcello Donadelli aka Give Vent: a compelling folk, contemporary and alive, divided in eight tracks. Can you tell your story to date and explain why you chose a name like “Give Vent”? Give Vent was born in 2012 during a forced break from the “You Vs Everything” (my previous midwest-emocore project) due to a change of formation. At that time I had some pieces that were not suited to the sounds of “You”, were much more personal and intimate, and they needed a different dimension. I’ve always written with acoustic guitar, then it came a little by itself thinking to take them in solitary in a folk context. Very slowly I started doing some small live in my area, and by the time I molded more and more of “Give Vent” mood. At the end of 2014 almost all of the songs were changed and I realized that I was ready to collect them on an lp. Earlier that
year (2015) I wrote to Ivan Tonelli of Stop Studio I had met a few months earlier and with Andrea Muccoli in the heat of July we made this record. The choice of “Give Vent” is the approach of live and intimacy of the pieces. When I started to arrange, I realized that I tended to be a bit extreme and to exteriorize a lot with voice and guitar. I liked it. The exorcising. The blow off steam. Everything was going in that direction and to give a name to this project, I wanted something that sounded like a “name” as “Frank Turner” or “Ben Marwood”, for understanding, and eventually “Give Vent” contained a bit of all this. Alongside classic songs “by songwriter” I found some curious and angrier songs: for example, can you tell us how it was born “More than a Self Destruction”? “Self ” is placed between the first and the second production of Give Vent, the one that
got to the record. Its first version was slow, with arpeggio and rather melancholic, very different than today’s version. The song perhaps had its punk character also in the first version, it was probably just “dress” to be unsuitable. “Self ” is about to remain stranded in those habits, ways and thoughts that come from being with one person, and that sometimes, it is precisely the kind of things that eventually lead to the collapse of a relationship. Those are the gestures that do not belong to you at all, and that after the break you promise to eliminate, although sometimes you realize that is not so simple. “Self ” is the reminder to stop the self-destruction. Another of the songs that have intrigued me is “Ashes”: what is its genesis? The “Ashes” lyrics arrived after yet another project where I had spent a lot of time. When it was finished, regardless of the commitment
or the will, it left me a sense of emptiness given by the knowledge that it was all over. It’s a bit as the realization of the next day. Generally it tells much about Give Vent, how some songs are born, why and my own way of dealing with certain situations and exorcise. “Ashes” temporally was written after “Self ” (first version) and it is probably the moment I found the strongest dimension of the idea of how Give Vent sounds.
mirko filacchioni Mirko Filacchioni plays guitar and he is clearly passionate about the sound of his instrument, as evidenced by the four tracks ep that he recently did publish, In Guitar We Trust. We put a few questions to Mirko. Can you tell your story? I was born in Rome and Iâ€™m a guitarist, or at least I try. I started playing guitar at 12
years, self-taught, having learned the first songs of groups of Hard Rock 70â€™s, which is my passion. But immediately I got into the composition and soon those groups became projects of unreleased music. I went from Metal projects to Rock and Pop projects, this gave me the opportunity to test my skills and my knowledge of the instrument, but
at some point in my career I felt the need to do something more, so I joined the Rock Guitar Academy of Donato Begotti, which I attended for three years under the guidance of Piero Marras, a great person and a great guitar player. I finished this path I left all the projects I had in my feet and I devoted myself to my solo project, being a guitarist my choice fell on a project of instrumental rock and here comes my EP entitled “In Guitar We Trust” How are born the songs of your ep? They are all designed in different ways and times, but all from the desire to experiment with a new sound. I tried to combine my guitar with percussion, wind instruments and a Japanese instrument called the shamisen. “My Hero” is the oldest, is a song, which also had lyrics, a project never started I rearranged. Then there’s “Do not Give Up”, more recent but still from a few years ago, an instrumental song born from the solo I had composed for a Metal project, “De-Fate” is more recent, born
by a riff from a song by a Pop / Rock project, while “New Way” is the song which started it all. After participating in the master class of Steve Vai, an amazing experience, I had one of my “attacks” of inspiration, and following the advice of Steve Vai “New Way” was born. What are your musical references? I like to take inspiration from everything, but the guitarists who have most influenced me are definitely Jimmy Page for his riff, Eddie Van Halen for his genius, Zakk Wylde for its power, Steve Vai for his feeling with the tool and Joe Satriani for its musicality.
fact, never put twice the same piece, like an album to which you add new pieces as a kind of diary. All very instinctive, following my “desires” and inspiration, I do not have stakes. A song can be a demo, one more polished, one rap, then a pop one etc etc. Your songwriting alloy “classic” songwriting and frequent hip hop interventions: how and why did you decide to create dialogue between these two forms of music? Let’s say that when you talk to me is still more pop. I do not feel tied to rap even though I love it when it is used and mixed with the other gender, as Gorillaz or even Kanye West in recent works do, so why not. I have not made big decisions about, or rather lately have many more demo without rap... I’m on the instinct, without major performance anxiety or large thinkings. Everything comes really very natural. Can you tell us something about who collaborates in your songs? How did you involved them in your tracks? My main collaborator is Serra, MC of Modena, which is also my city. I met him many
No album (for now), no ep, a page on Soundcloud, images, by Jack Venturelli, with clear references to cartoons of the early twentieth century: the Foschia project stands out for some unique characteristics. Founded by Matt Revol along with Serra and Graziano Ranieri, Foschia are searching for a winning mix of soft songwriting, Sparklehorse style, and some engraved hip hop. We interviewed Matt Revol. Can you tell your story here? I have always been fond of music, especially listening. Then, at 14/15 years, I discovered the guitar, then piano. I studied both but soon I give up, because I was only ever interested in writing my music. So I devoted myself to a bit of harmony theory, that I didn’t complete too. Today, for many years, I write my pieces. You have not made an ep or an lp, but many “disconnected” songs. Can you explain why? My lp page is an lp in constant evolution, in
years ago after hearing some of his songs and I involved him slowly, he got in the game and has adapted to a shape much less rap than pop. The project was born with him. Then, there are Anne and Ludovica, two singers with whom I recorded a few pieces and collaborated on various melodies and texts, Graziano Ranieri, sound engineer and friend and finally Antonio, very good guitar player with whom I recorded the guitars for several pieces. These are the main contributors and with whom work more often. Then there are others more “occasional”. Who is or who are the Italians independent artists who esteems more right now? I do not know whether they are independent, but I like “La rappresentante di lista” Can you name three songs, Italian or foreign, that have influenced you the most? I would say, if I can go with albums, Vivadixiesubmarinetransmissionplot of Sparklehorse, Blur’s Think Tank and Sgt.Pepper of Beatles.