No. 9 - JUNE 2017
! n o i t i d E s d Ban
SAM AND THE BLACK SEAS
A total wall MOMA egosystemA movin k
Interview sam and the black seas
interview A total wall
review Lâ€™ora x
interview movin k
TRAKS MAGAZINE www.musictraks.com Editor in Chief: Fabio Alcini firstname.lastname@example.org
sam and the bla seas: the impor of the islands explain the name of the band? Everything was born in 2012, I had some song written with Giovanni D’Avanzo, arranged for guitar, cajòn and cello. After my return from three months in Australia, where most of Silver’s songs have been written, I contacted Mattia and Cisco with whom I had already played in other bands to propose to play together, some tests and we started to live. After a couple of recorded eps and a
Silver is the debut of Sam and the Black Seas, an indie-folk group that recorded the record moving between Italy and England. Recorded by Daniele Falletta, mixed by Matteo Sandri at the Mono studio in Milan and mastered by Giovanni Versari at La Maestà Studio, the record includes nine English songs from many different colors. We interviewed them. Can you summarize your story so far and
ack rtance chose a place, number and color. Initially it was ‘Seven Black Seas’, but Thomas, founding partner with Marco of Atomic Fat, changed it to ‘Sam and the Black Seas’. He won him with the votes... no, he did, in fact, have decided so, saying that “we are not a metal band”. You have “prepared the ground” for the album by publishing four singles and videos before the release: how did this “strategy” come about?
good number of changes of formation, including Andrea, we ended up playing in Sardinia, where we met Marco who proposed to collaborate with h is label. Apparently, the islands mark our most important moments. In this year and a half of collaboration with Atomic Fat we played so much in London, shot video material and especially recorded our first album, Silver. The name Sam and the Black Seas was born playing, each of us
We pass the ball to our label Atomic Fat, who has promoted the promotion of the record. The idea was just that, preparing the ground for publishing the album by recreating the story of the group through some of the most reputable songs. The aim was to give the project a greater visibility to the project, creating the curiosity and interest to impact on a highly competitive London Indie scene
where it is possible to find an audience open to the news. The four singles have in fact produced as much promotion as possible to look for new spaces of growth and attention, especially among the â€œjobseekersâ€?. We have created a solid (but non-intrusive) presence on social media and built a fan base that can approach our music in a variety of ways, such as streaming, downloading, or through
videos on the VEVO page. Just the videos are the result of a beautiful artistic collaboration with BOTH that has found inspiration in our music as the ideal soundtrack of their stories. In the communication we were initially supported by a Liverpool press office that prepared us for this strategy, and today we are working with Lunatik in Italy who has brought Silver on the radio and to being reviewed in several important news headlines. The songs sounds very varied and also very influenced by international songwriting, mostly folk. What are your key points in the genre? We hear so many different things, from Nick Drake to RATM, from At the drive to the Italian or American songwriter, to classical music, but also Apparat and Bon Iver. Something of every kind. Lately, for example, I am rediscovering the folk music of Anglo-Saxon countries. How was born “The Game” song, in my opinion, one of the best of the record? The game was born from the guitar, in a few days, I sent the vocal-track record to Giovanni who, in a very short time, laid it up keeping the sound of the “maccheroniche” words he had received, I do not really know how he
does it. The central instrumental part, however, was born in the car, singing the theme of the cell and rhythm of the battery above the guitar chords, imagining it grow as a positive rage that goes in and is thrown out in the final screaming chorus. Often some ideas for record arrangements have come out listening to guitars in the car, going or back from work rather than returning from an evening at night, pointing all the way in with the phone recorder. Sometimes I listened to it and it was a shit, I did not quite know what I had hummed, and sometimes it came out the song. Can you tell the main instrument you used to play on this record? The lp is naked and raw, there are very few overcarvings, we have not used any tools, effects, or particular environments, instruments or voice except for a couple of battery trigger in The Game and Silver, the addition of a synth and a piano on The love we owe and a wurlitzer piano on Agata. Instrumentation is exactly what we use when we play live: a Taylor and a Cort guitars, an acoustic drum and drums of Drum Sound. Can you describe your concerts? What will be the next dates that will be visible to you? In the gigs, we try to build a musical story, especially considering the harmonies of songs and bpm. If there is a guitar changer or a tuning of some instrument, we insert a short introduction to the next song, a carpet or a drum, to give the time to make the necessary changes. We do not like to leave holes or talk too much between one piece and another. Lately, we have tried a ladder of about an hour that we really like, we will replay it from October onwards when we begin to wrap our newly released lp. It sounds like a good show for Silver, which is fine.
A total wall uncompromising s A Total Wall publish Delivery: the metal-djent band from Milan comes back, three years after last ep. Thatâ€™s how they responded to our questions. Whatâ€™s your story so far?
In 2009 we started as a duo (Umberto - guitars, Davide - drums), we started writing the first songs right now looking for uncompromising sound. Coming very different, we have tried to convey our influences into a kind of
sound music made of grooves, aggression, and endless technique to itself. We released 2 EPs totally self-produced (with David on the voice), and then we dedicated ourselves to completing the lineup. The sound was still under
way, we went from 7-string guitar to 8-string guitar. With the addition of Riccardo and Daniele we started to make the first live and write new pieces. Meanwhile we replaced Daniele with Gabriele and we continued our live activity. At the same time we ended the writing of the new material for the new album, totally with 9 strings. How did you work on your first full-length disc? Have there been any differences from the past? Compared to the past, we have had an “evaluation” of the longest pieces. We have been much stricter with regard to the quality of the final product, from the sounds to the arrangement. For the first time we were also entrusted to a mix and master studio (Greenriverstudio by Tancredi Barbuscia). We went from ideas to the pc to the real songs played directly in the room even before deciding if everything would end on the album so they have a very precise idea of how they would “make” the pieces. Only then did Gabriele intervene, creating the vocal lines and giving a further layer to the songs.
You have chosen to use “stable” nine-string guitar: can you explain the choice? We say that the band’s sound is constantly evolving both in terms of sounds and instruments. We wanted to see if switching to 9-string guitar we would be able to keep a strong impact without losing definition and without losing sound aggression. We are very pleased with the result, now 9-string guitar has steadily grown in our pieces and we have no reason to go back. How is “Evolve” born? The idea from which Evolve emerged during a brainstorming session in the studio we had (which happens regularly). We have imagined a self-replicating computer virus that, in its spread, increases its complexity until it becomes able to develop new invasive strategies. In a short time, the virus network is so vast and powerful that it can acquire self-consciousness, evolving in all respects into an emerging artificial intelligence that develops
interview defining the dates that will show us the new album live. In the meantime, we are working to build a live show that supports our musical ideas. Who is or who are the Italian independent artists that you most esteemed at this time and why? Lies of Nazca - Damned Spring Fragrant. We think that today is extremely difficult to be noticed in a kind of niche like ours, overall quality is very high, the attention of very low people. Can you indicate three songs which have influenced you particularly? Meshuggah - Stengah Periphery - Icarus lives Textures - Storm Warning
exponentially reaching superhuman levels. From there to take control of the whole planet, the pace is short! Can you tell the main instrument you used to play on this record? For guitars, they were recorded directly on PCs, then reamping with a â€œtrueâ€? amplifier. Itâ€™s a process longer than the classic recordings but you can check the final sound in the details. For the bass sounds we have directly used the chain of effects that Riccardo also brings with it on stage. The rendering of the batteries was made directly to the Greenriver Studio, where the entries were recorded and mounted. Can you describe your concerts? Unfortunately we are still in the process of
ning point for more “electrical” ideas. Can you tell how this change was born? From the first lp, there was the need to express a change, to something more enveloping, aggressive, and out of the patterns. In transition... permanent. We also add that the songs have also been developed according to the actual availability of instrumentation. Now we’ve bought a mini synth and a drum machine, we’ll see! What were the biggest difficulties you encountered in making your record, if any?
MoMa formed in Faenza (Ravenna) five years ago. After publishing their first, acoustic, record, Linked to the stars in 2013, they are now pubilishing A permanent state of transition, which instead uses more than extensive electrical feelings. We asked a few questions to the band. “A permanent state of transition” is a tur-
concerned, it was initially intended to speak of anger that is sometimes referred to some social categories like immigrants, gays, or other minorities. We wanted to talk about the feeling of hateful and unjustifiable hatred that sometimes arises and puts people against other people in a perverse spiral. In the end, because of the length of the first verse we only talk about immigrants, but the conclusion remained the same: the memory of the blood tie that unites us and the attempt to understand the reasons for the other. The packaging of cd is articulated, including a kind of goo playing in the inner booklet ... Who has invented everything? Perhaps this was really the toughest part of the project: packaging was a real teamwork, a result of hours of comparison, where everyone put their own idea, then inserted in the final result except the cover, idea of Michela, bass player, logo and small graphic help for the inner booklet. Can you describe your concerts? Our concerts want to be as engaging and participatory as possible. We try to create an original show where everything is in the right place and we can convey the meanings of the songs, with some theatrical intervention from Recording was a long track of awareness of songs, born and transformed in the reharsal room, sometimes changed radically by studio work. Probably this awareness was the toughest step, the lp has taken shape by itself! We do not deny that, being completely self-produced, some economic difficulties on the way have arisen... How is it born “Until”? From a musical point of view, it was born from a guitar riff, on which the structure of the song was built. As far as the lyrics are
our frontman. As for the concerts, we have already played in some of Romagnaâ€™s localities, and we count on spreading our work as much as possible. In our repertoire, about two hours, there are no covers. Who is or who are the Italian independent artists that you most esteemed at this time? Livia Ferri and Brunori Sas. MoMa track by track The album opens with the ballad Tasteful, with rock-blues influences and sentimental and extravagant streets to go. More direct Running Free, which aligns some nostalgia for the 80s rock with good bass lines. Dim-
min â€˜Night makes a precise choice for a romantic and classic ballad. We start again with the 21st Century Battle Hymn, which makes noise especially with drumming, accentuating the rather daring danced pace with the guitars. Until brings tribal and ancestral rhythms, with references to American Indians (or similar), then slamming into an aggressive rock. Pain in Beauty also carries a good amount of rancor and baldness, reinforced by guitar interventions. Dâ€™Ya Turn Back insists on rocky tones, but with some inserts of different nature, with paced changes and curves that widen, leaving room for voice. The bass, along with a series of keywords related to so-
cial networks world, opens Your Face is like a Tweet. It continues with Rock & Bacon, which brings the climate to more serious and almost solemn tone. The record ends with Over, which uses the voice of Marica Ferri to give a more intimate and different tone to the final ballad. Good work for MoMa that in the new lp show all of their varied souls.
egosystema Change Reality is the second album of Egosystema. The alternative metal combo publishes for Ghost Label Record the new album of eleven tracks, essentially a concept based on a painful loving triangle. The album is released online by Crashsound, digital by Believe and in physical format by CODE7 (UK-IRL). Change Reality follows the debut of the band in 2014 with the full lenght â€œInside The Emptyâ€?. After Change Reality, the
purely introductory title track, the lp begins to hit seriously with Innocence betrayed. The lines of contemporary metal are confused with melodic attitudes, even though there are several deflagrations of power. Limits decides to highlight the most friendly side of the band, but also the darker one, with the voice that takes the lead at first, but with significant interventions of keyboards and guitars. Liar also points out a susbtantial duality:
but also melodic album, the new one of the Egosystema, which confirmed with the second record how good they had already were in the time of the debut.
the sounds are harsh and dirty, but there is a structure and almost a vocation for melodic rock and there is room for some clearly vintage nostalgia. And after a roaring and storming Realize, here comes Get Lost! , where drumming takes fire, but the sensation is countered by curious electronic sounds. Post grunge clues suddenly splashes out of You and Me, leaving plenty of space to softness in rock sauce. Much worse False Friends, where again drumming becomes noisy and guitars sounds acid. In contrast, Forlorn starts gently, even with the piano, building his own anger step by step and feeding it again with a particularly robust drums. Energy is not exhausted and is confirmed by Never Again, another fast electric ride with light instincts. Clear the intentions of No Remorse, fluid and stormy, at the end of the record. A powerful,
his clancyness european tour
HIS CLANCYNESS 122 giugno: Lipsia, Germania - Ilses Erika 23 giugno: Dortmund, Germania - Etepetete festival 24 giugno: Copenhagen, Danimarca - Amager Bio w/ SPOON 25 giugno: Magdeburgo, Germania - Cleaning The Cobra Pit 27 giugno: Magonza, Germania - Schön Schön 28 giugno: Monaco, Germania - Rumours 03 luglio: Colonia, Germania - Gloria w/ SPOON 05 luglio: Parigi, Francia - La Maroquinerie w/ SPOON
07 luglio: Soliera (MO), Italia - Arti Vive festival w/ Kevin Morby 08 luglio: Pegnitz, Germania - Waldstock festival 19 luglio: Pesaro, Italia - Dalla Cira 21 luglio: Benevento, Italia - Soundproof festival 22 luglio: Brescia, Italia - Musical Zoo festival 28 luglio: Carbonia, Italia - Summer Is Mine festival 29 luglio: Porto Ferro (SS), Italia - Baretto 02 agosto: S. Teresa di Gallura (SS), Italia Bramble’s Art 08 settembre: Mantova, Italia - Festival della Letteratura
great names of the nu metal of the 90’s such as Korn, Limp Bizkit, Nonpoint, Adema and Deftones, without forgetting the influences of Italian band of the likes of Timoria and Linea 77. It starts with Animae, which has metal sounds with goth influences and a sung / rap in Italian that is not respectful of the bounda-
The Mangano brothers, already in Yattafunk, under the name of L’Ora X, publish Sottovoce. Alternative rock/metal sung in Italian, powerful guitars and a genre inspired by the
a little everywhere along the way. Surprising is the cover of the famous Non è Francesca, timeless hit by Lucio Battisti who here dresses in darkness and revenge. Io ci sarò lowers the lights suddenly and stands by melodious hints to assume a narrative and nostalgic attitude. We come back to very robust sounds with Quello che i miei occhi non vedono. Instead Sweet Home Roma Est looks like a moving photograph, with an interesting bass loop. With Che sarà di noi we return to a soft attitude and talk of nostalgia of a past probably not too far. The song starts with very melodic feelings on the first, but then explodes in particularly loud screams. The ending is a kind of quotation from Rino Gaetano but in an overwhelming and obscure way. Black and long resonances, and even a little new wave, penetrate Daimyo, which alternates permeable phases to other toughest layers. Here’s X, more straightforward though willing to return to some hip hop influence. The closing, Sottovoce, holds true to the title, with a piece full of melody accompanied by acoustic guitar. An album with many souls, the one of L’Ora X, which focuses on the various influences and achieves a good result.
ries between the genres and sometimes melodic, sometimes in a tight, sometimes scathing, metal howl. Lebbracadabra, as well as with words, plays with the power of guitars, in a song that is powerful and electric to the highest degree. Gaius Baltar tries to hold back the instincts, but the explosions are coming
reviews cess and in its being enlivened by almost angelic singings. It closes with Lullabye, last piece rich in melody and sweetness. The Neuromant stand a kind of show of lights and shadows, showing a certain awareness of their means, considering that it is a debut. The melodic declination of some pieces highlights the band’s pop talent, however compensated by more complex structures in other songs of the album.
neuromant “cyberbirds” Cyberbirds is the debut album of the very young Umbrian quartet Neuromant. A work of balance between alternatives, post-rock and psychedelia, strongly inspired by the title from the Cyberpunk culture. The opening is Trees or Teeth, seemingly quiet passage in dark woods and loads of new wave suggestions. Penguin’s parade starts from what appears to be a chime, but then introduces voluminous electronic percussions, and the pitch becomes a cadence step and a rather theatrical song. Placises the waves of Dreaming water, which has melodic and almost pop profiles. Much more nervous Emptiness: in its three minutes just abundant adopts accelerated and frantic ways. Cold wind fat world, on the other hand, welcomes psychedelic inspirations to a tune of variable structures and exposed to winds. Leaving soul resumes the melodic level with a particularly intense singing and an elongated, almost lyrical tail. Theatricality is confirmed in a song like All the crazy voices, led by an interesting play of bass and influenced by substantially progressive ideas. The short I feel provides a piano pad before new adventures. So here’s Cyberbirds, the title track, gentle in its pro-
syncage “unlike here”
New Syncage record is called Unlike here. Consolidated in Vicenza around 2008, the quartet stabilized a few years later, first publishing the single Hellound and then the ep Italiota, with an idea of coexistence between various influences ranging from fusion to art-rock, to 70’s symphonic rock. Inevitably landed at Prosdocimi Recording Studios, the realm of analogue recording under the auspices of producer Mike 3rd (and Pat Mastelotto, Tony Levin, Benny Greb, ExKGB etc.) and mastering of Ronan Chris Murphy (King Crimson, Robert Fripp, Steve Morse ). School is the first track, carrying a boundary to prog-metal sound in math, between the ancient decades, especially the 70s, and much more contemporary feelings. Violin and
percussion open Uniform, which has Mediterranean footprints, enriched by some vocal play. Still Unaware faces the side of the progressive melodic, with vast use of keyboards and vocals rather “free”. Acoustic guitar and drumming are the starting point for Skyline Shift, then backed up by a rather free bass and keyboards, and finally by an electric tail. A certain sweetness characterizes Stones can not handle gravity, though innervated by percussion and rising rhythms. Redirect starts with a clearly rocky mood, almost garage, but we’re still talking about a song of almost 8 minutes: in fact, many variables and instruments intervene, like the early roaring of the electric guitar. And trajectories become unpredictable. Bearing the Color is slightly more straightforward, but there is space for fantasy, especially by the rhythm section. The long Edelweiss, suite of more than 14 minutes and a half, and the heart of the lp, starting from a play and then building on electronic feelings that are compared with analogue instruments. The structure of the tune is varied and crosses various phases dominated mostly by a melodic character. Hunger Atones goes back to boundaries ranging from prog to math, following guitar tracks and bass on alternatives that can make think to King Crimson as well as jazz formations. It closes with the title track, the other suite Unlike Here, which announces itself in quite awe. Good-quality record, the one of the Syncage, which is banging between the decades and letting go of the favorite influences. The result is a multi-faceted, full and rich record.
inarmonics “a thing of beauty”
It’s called A Thing Of Beauty the Inarmonics debut album, recorded entirely in direct contact. The Inarmonics love to experiment and not just a single musical genre. The first track is Disma, an alternating path between lightening, melodic phases and rhythmic accelerations that blends sensations of a different nature. And if the opening piece reveals progressive influences, for the title track A Thing of Beauty, there is a need for some black connection, with the bottom groove in the center of the discourse. In the park it gets more threatening, with a restless guitar loop. Funkarabian Scat is triggered on slopes that provide acid accelerations, stretched to experimental breaks. History is dressed in rock, with very rhythmic beats. The instrumental Farabutto sees the guitar that takes the center of the scene, with an acid and prolonged solo, leaving room to the bass, in a sort of jazz jam session session. You go back to melodic prog speech with Gone to Fast, before the rather “alcoholic” funk of More Wine closes the album. Lp of some surprising ways, that of Inarmonics. The instrumental abilities blend into a rather “free” creativity, to get a rich sound album and articulated structures without getting lost in too abstruses loops.
ting the fun in FUNreal opens the record at very high rhythms. There are echoes of nu metal and goth in the song, mixed and agitated by powerful sonorities. The WOW effect prolongs in the same mood, with similar sounds but slightly more controlled rhythms. The power of this song is freely expressed through the guitars that vanish before finding free openings. It recovers in terms of aggressiveness with Eat.Pray.Kill, which jumps and knocks in rather dangling. Mrs. Fletcher’s relatives plays dirt and sneak into electronic grooves crawling until they get out of wedges. After an electro intro, here’s My Antichrist Anaemia, another bloody and virulent tune. You get into not very quiet heads with The voices made me do it, which unloads all the energy you can from the electric side. The following song is Paracetamolotov, an interesting mix that sees drumming going on from the previous tune, but raising even more volumes and rhythms. Corax closes with Ma-
A Poe-style raven and sketches of blood on the cover, Corax is the new Niamh album. Newborn band but with individual experience behind, Niamh can count on Mateja, part of the rhythmic section of the Indigesti, a historic Italian punk band, with which he plays throughout Italy and beyond, while Bellix has only been part of it in the past. Mike is also a singer of Arcadia, for years one of the band’s richest lives on the peninsula (they played with Iron Maiden, Megadeth, Six Feet Under, Mnemic and others). Tommy, however, was part of the Arcadia, in the past growing up with them step by step. After a few pangs (and we are already in 2016), the four Vercelli guys start to play, debuting live and recording the first pieces looking for songs of strong and energetic impact. The album is made up of eight metal tracks of different colors. Put-
niac, surprising cover taken from no less than the Flashdance soundtrack, with Michael Sembello transfigured in a metal (but not exaggerated) dance. An lp that is claustrophobic but also enjoyable, the Niamh one. The genre is doubtful, in the sense that many metal influences and even something out of the metal are felt. However, the result is robust and remarkable.
(Italy). From 2007 Movin’ K started touring around Italy and joining several music contests with great success (Music Village 2008, Tour Music Fest 2008, Stage Alive Contests 2010 (winners), Strane Officine 2012 (finalist), Emergenza Festival 2012 (finalist), Prato Music Festival 2015 (winners)); furthermore the band it’s been selected to join some important festivals such as “Musica per i Borghi” in 2010, “Yes Weekend Festival” in 2012 and “Blue Street Festival” in 2016. At the end of August 2010 the band played live at the “Maloemelo” and at “Waterhole” in Amsterdam for their first performances in Europe. In 2016 Movin’ K won their regional selections to join “Arezzo Wave Love Festival”, the most important event in Italy dedicated
A progressive rock influenced band, Movin K publish Watin 4 the Dawn: we asked some questions to the five-piece combo. Can you tell the main stages of the band before “Waitin 4 the Dawn”? Movin’ K project was created in 2006 by the main members of BLACK RIDERS, a progband that spurred a strong interest in Italian underground prog scene during the period 1996-2002; the work of Black Riders it’s been honoured by several awards dedicated to upcoming bands and in 1999 the band was selected to perform as support band for PORCUPINE TREE at Prog Fest 1999 in Vigevano
to upcoming bands; in summer 2017 they have reached the national finals of “Road to Pistoia Blues” contest. Before the beginning of “Waitin’ 4 the Dawn” recording sessions, Movin’ K realized 2 albums (“Along the Way of the Great Dolphin” in 2008 and “Until your Breath is over” in 2012) and in 2014 the EP “Park your Butt” that was a little preview of the new album. The music pathway of the band is part of the artistic career of its creative engine Francesco K Epiro, author, arranger, producer, composer and performer who worked with several artists such as Naif Herin, Ronnie Jones, Horndogz, Davide Dugros, Stefano Frison, Davide DaG Gullotto, Thierry Zins, Simona Cancian, Mikol Frachey, Kiol. Epiro is also a composer of soundtracks, music for piano solo and new age music projects. The front-woman of Movin’ K, Maria Rita Briganti, is a talented esteemed singer, vocal coach at “Arcademia” academy in Omegna (VB) and vocal coach at “Lorien Studio” Music School in Milan; she also is the gospel choir director of “Black Inside” ensemble. Maria Rita is a student of Maestro ALBERT HERA and in 2015 debuts as singer, dancer and actress
in the musical “Madame La Gimp”, directed by Fabrizio Rizzolo. Francesco K Epiro and Maria Rita Briganti in 2015 formed the “MK Acoustic Duo”, an acoustic project with which they present the Movin’ K repertory re-arranged for vox and piano solo, together with some selected covers, in several special live performances. With what premise and feelings did you approached the work on “Waitin 4 the Dawn”? “Waitin’ 4 the Dawn” was born with the intent of pouring into the work a spiritual, existential and human path through the sincere transformation of emotionality into music. From the writing of the first songs to the final definition of the album, the band followed an emotional flow free from particular canons and labels for what concerns their own music, choosing to adapt every single song to the feeling that inspired the composition. The intention was
to create a story as sincere and introspective as possible in which words and music and arrangements were complementary one to another and only aimed at communicating what for several years has shaken the heart of the author. The communication is at the basis of the whole work and the dialogue with oneself and with God is the basis on which a music tale develops in order to abandon the need to appear in favor of the naturalness of human being. The record portrays a spiritual journey divided into three acts (Fall, Journey, and Liberation). What were your sources of inspiration for writing?
The authorâ€™s personal experience is the primary source of inspiration, and is represented in absolute honesty. The human path marked by various and complex events has caused a sense of loss in the existential path of the author who has seen his convictions sunk in the daily conflicts and felt the need to recover connection with God and with his inner self. The comparison between what we appear to be and what we really are and feel, and the comeback to a priority and exclusive dialogue with God, are the basis upon which the inspiration of the work is based. Are you already working on new songs? Can you anticipate something?
At the moment we’re working on two different projects related to the band, in addition to the promotion of our last album “Waitin’ 4 the Dawn”. We’ve started the production of our next album by working on the arrangements and sound development of about 10 new unreleased songs composed in the last two years; besides we are starting the final (long) step in the realization of a Rock-Opera called “The Cross”, with the aim to debut with the stage of the opera within the next two years. Francesco K Epiro realized the script and composed all the music and lyrics and Epiro’s sister Kini (Theater Designer graduated at “Accademia delle Belle Arti di Brera”) realized the scenography and costumes; at the moment Epiro and Maria Rita Briganti have just started the work on vocal arrangements and music orchestration; soon the band will start to record the songs and we’ll put together the cast. Can you describe your concerts? What will be the next dates Movin’ K live sets of 2017 are focused on new album songs; when we’re able to work on stage with the right space and solutions we complete the performance with visual components, such as videos and scenic objects, with the aim to represent the themes of “Waitin’ 4 the Dawn” in the best possible way. This summer we’ll be on stage at “Garden Music Festival” in Valle d’Aosta and we’ll perform a couple of concerts in July. We’re planning an intense period of live performances for autumn-winter. You can check every news about our events by linking on our web site, www. movink.net, or our facebook artist page. Who is or who are the Italian independent artists who you esteem the most at this time and why?
We are most influenced by international artists, we love music but we prefer a musical genre that is not widespread in Italy. There are several artists we estimate and we think that the general artistic level of italian musicians is very high. But in terms of creativity and ideas we still find much confusion and inconsistency, powered by Italian music mainstream founded on TV format and talent show that penalize the artistic purity and honesty. We regret great visionary songwriters of the past such as Lucio Dalla and Giorgio Gaber, and we love the sweetness and sensitivity of authors such as Niccolo’ Fabi and Daniele Silvestri. We are also inspired by the works of musicians such as Ludovico Einaudi and Stefano Bollani, and classical music. What we constantly research in music is the communication of emotions, the sharing of feelings. We appreciate the aesthetic but we’re most focused on the subject and themes that lead an author to create music. Can you list three Italian or foreign songs, which have influenced you particularlyin your artistical path? Three songs are a very small selection compared to the great number of artists and albums who constantly inspire our works, feelings and creativity. By forcing us in a restricted choice we can mention three bands who’s been fundamental in our artistic education: Pink Floyd, Police and Toto. We don’t expect to be even remotely similar to these incomparable legends, but our music it’s always been inspired by their works. We also need to mention other 3 artists through three amazing songs that filled up our hearts and souls with their matchless beauty: “Anna Stesia” (Prince), “Don’t give up” (Peter Gabriel) and “Telegraph Road” (Dire Straits).
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