No. 10 - september 2017
monkey onecanobey audiosfera
fall has come
metropol parasol new voices from florence
alice viola andy k leland
fall has come
andy k leland
francesco garito & marco cantini
TRAKS MAGAZINE www.musictraks.com Editor in Chief: Fabio Alcini email@example.com
monkey onecano keeping on our shoulders our Monkey OneCanObey: peculiar name for a peculiar duo of teens who had the idea of finding a common point between some rusty rock-blues and the “drumming” exclusively made by vocal beatbox. The result is MOCO, first album of the band: we asked them a few questions. You are very young: what have you been up to this record debut? As you have just said, being very young, we
have had time, and still have, to play, create and have fun with the awareness of wanting to explore as much as possible our musical worlds. We’ve known each other since we were young and we had the honor to keep our shoulders out of the music, consolidating a relationship that is now stronger than ever. The record sounds like this thanks to the experiences spent together, the friendship that has consolidated in these last summer
obey: music apparently distant elements like rock and beatbox? The idea was born out of Phil about two years ago. The result is from a path that Phil has played in Italian hip-hop music, and he then became interested in the Beatbox discipline. The idea of forming a group has always been and is thus consolidated with the talent of the group’s Mouth Machine. Melting the two things to make it become one in the end was
holidays and which certainly have also characterized the feeling in the test room and then in the studio. At the same time, we wrote a lot in this gestation period lasting two years and the project’s debut was live, only last season so we had the enormous time, as well as the need to extrapolate the more sensations possible by the songs trying to get the best out of ourselves. How did you think of putting together two
MOCO. Sav, for example, in the last few years he has focused his ear on Delta Blues, Son House, Blind Willie Johnson rather than RLBurnside, Sleep, Massive Attack, Depeche Mode, Jimi Hendrix, Queens Of The Stone Age, Elvis Presley, Jack White , Incredible Bongo Band, Jeff Buckley, Led Zeppelin and many more. As for Phil, however, he has had a path that is mostly contaminated by Hip-
also quite simple by recognizing us in genres that we share. It sounds obvious from your songs that you tastes rather â€œvintageâ€?: what are your sources of inspiration and your achievements? Having had a long period of workmanship, the tastes, as well as the musical character of the group, have metamorphoses that have finally brought to light the final product of
hop, passing between some punk shades and then ending with rock. Articolo 31, Caparezza, Tre Allegri Ragazzi Morti, Heymoonshaker, The Cyborgs, in short... we have no real firm points but in return many artists have determined our sound. How was “Philled Lungs” born and why did you choose it as a single? “Philled Lungs” was born with the need to blend the rock of the nineties with the typical Beatbox sounds dubstep, and it is a single that is very important to the band. First of all because from this side all the concept of the useless “Me against all” that you can find in a different key on each track, and then why it is important since it was the first song on which we put our hands, changing the structure radically with respect to the specimens and moreover, especially when we play it live, we have a fair charge to start the concerts. It is the single because it represents us; because it’s a little bit of the juice of the whole disk, the bit with the most aptitude of the Beatbox / Rock context. Why did you decide to make a cover for “Personal Jesus”? The cover of Depeche Mode has been a great challenge to see how we know how to move in fields that do not really stick to the rock context of the band. We must honestly say that we loved revisiting the tune and when we sometimes play live we have a lot of fun playing it. It has been a bit the key that has opened new ways for our project, in terms of “Ah ok! Maybe we can move from the beatbox / rock and find new solutions that
work! “ Two words on the cartoon cover (I would say a tribute to Jack Kirby, who died before your birth): how is the idea and the realization come about? We honestly did not get too far into the world of cartoons, so we can not go into that. We have already opted for such an imagination, but to put the final touch was Filippo ‘Peppo’ Paparelli, who together with Andrea Spigarelli, cared for the cover in our view consistent with the aptitude of the duo and the record. The end product has undoubtedly met our view and made our job a bit more fat than the songs and even ourselves.
audiosfera Umbrian group, with a passion for English pop and in particular for shoegaze, Audiosfera in April 2016 entered in the studio to record their first album Ogni cosa al suo posto. Whatâ€™s your story so far?
Lorenzo (acoustic guitar and vocals) and Valentino (keyboards and choirs) met in 2002, attending the courses at the European Center of Toscolano of Mogol, thanks to a scholarship. After several experiences, the two
friends recently decided to use their ideas. In the new project they have been able to engage with good musicians such as Maurizio Chiani on electric guitar, Gianluca Del Torto al basso and Mattia Mattoni on drums that now con-
much difficulty in general, maybe the song that made us worse was “Tempesta”: there are at least three versions of the arrangement of that song! How did “Otto minuti di follia” was born? In the demo done at the beginning, we had a cheerful arrangement for the lyrics that speaks of a dramatic situation. Then we all found the right harmony to make it one of our best songs. Can you tell the main instrument you used to play on this record? It’s pretty simple: Lorenzo sang and played his Ovation acoustic guitar, Valentino played the electric piano and a synthesizer that makes various sounds from the organ to the special effects of “Infinito”, Maurizio has played various guitars from Fender to Gibson depending on of the sound he wanted to get with
tribute to Audiosphere sound. “Ogni cosa al suo posto” is your debut: can you tell how did you handle the album processing? Are they composed songs ad hoc or accumulated over time? We started arranging the songs in the studio, every song has a story in itself. When we finally felt satisfied we got to the recording studio where we refined the sound. In the end we chose eleven songs that we think are the most representative for the album. For the title we chose the verse of one of the tracks: “Everything in its place.” With Musicraiser we made the leap of quality by reaching a wider audience and bringing new fans closer. What were the biggest difficulties you encountered in making the disc, if any? We had a great time with our producers at BustHard Studios in Terni. We did not have
interview artists that you most esteemed at this time and why? Each of us is also listening very differently from the others. It is not easy to answer as a group. But let us try with these names to get enough of it: Ministers, Park Avenue and Verdena. Can you indicate three songs, Italian or foreign, which have influenced you particularly? As for the earlier question, there are songs that have influenced each of us. As a group we can say we rearranged songs like Back in the USSR of Beatles, I still haven’t found what I’m looking for for the U2 and Starlight of the Muse.
effects like distortion and delay, Gianluca used his low Fender Jazz often with clean sound but with the distortion in some lively pieces, Mattia instead played his craft acoustic battery, a real gem! Can you describe your concerts? What are the upcoming dates that will be visible to you? In our concerts we are accustomed to reshooting the disk in full, sometimes it requires we propose covers of the songs that we like most but filtered out of our interpretation. One of our upcoming dates is October 29 at Panicale (Perugia) during the Pan’olio event, we look forward to it! Who is or who are the Italian independent
FALL HAS COME The band was born without any pretense. The desire to create our own music, to put in the music those ideas left in a drawer, came into being with the creation of the first album Time to reborn. Then, having a very unexpected response by the insiders, there was the desire to make a second album. There seems to be more different souls in the album: there is the â€œclassicâ€? metal, there are more contemporary influences, there is the melody but also a lot of power. How did
Coming from Caserta and with an album (Time to Reborn, 2015) behind their backs, Fall Has Come reappear to the scene with the new lp Nowhere. The trio puts in line ten songs taking hints from both the most traditional metal and the sounds that are closer to the contemporary, without giving up on melodious, wide sights, ballads. The band was born in 2014: can you tell your footsteps until the release of the last album?
was written not only for listening but also for the idea of something visual. The tracks are thought more as soundtrack than simple songs. It also seems to me a lp that is very much conceived for gigs. Do you already have in mind how to make it in concerts? The album was born thanks to the experiences gained during the live performances this year. Moving on a stage of some importance gave us the opportunity to understand what the audience would like, involve and become part of our show. The live performance is the key of the Fall Has Come project. How did is born “Breathless”, in my opinion the most interesting song of the record? “Breathless” was born shortly after he released “Time to Reborn”. We wanted the band to
the workings go and what were your intentions before implementing it? Each of us comes from a different musical extraction, which makes our sound “different”. The melody search has always been our peculiarity. The intent was to create a sound that could embrace a wider range of listeners. This record
create something that was more experimental and different than ever before. The sense of ‘theatricality’ was our intent. We wanted to include in a song the sense of “illusion” dicta-
for Evanescence. What kind of experience was it? Behold the Evanescence have been one of the most famous metal band for almost twenty years. The same stage was something that still seems incredible today. We met Amy Lee, who left us speechless for her enthusiasm in talking about our show. It has been magnificent: 9000 people were in front of us and sang our songs. Certainly, to date, one of the most beautiful experiences we ever made.
ted by our times. How do you explain your foreign success and especially in traditionally “tough” countries like Scotland and Wales? As mentioned earlier, we did not expect a “success”... so :) The response from the public of the United Kingdom but furthermore inthe Eastern countries prompted us to do something bigger. We knew we had a good product in our hands but we did not expect such a lively and sincere response. Last June you played in Bucharest, opening
FALL HAS COME track by track
The LP starts with an epic Believe, which carries with it many of the crisms of a traditional metal and with some melodic inclination. Much more aggressive is the following Last Begin, starting from drumming up to a fast and acid guitar. We travel on a classic and loud side with the powerful Our Lives, while Awaken is a more racing and breaking song with a melancholy mood. The following Carillon is a classic ballad. Breathless, probably the most ambitious and theatrical piece of the record, is strategically placed at the opening
of the second half. In Everything salutes the re-emerging of the bandâ€™s melodic side. Itâ€™s Over highlights the noise, with choirs, powerful guitars and electric rackets all around. One Minute to be Alive chooses again the metal sound in a powerful and direct manner, ending, here and there, in even harder genres. We still closes on the soft side, but The Long Way to Run to be Human Again picks up his way towards southern rock. Itâ€™s a powerful, but multifaceted disc, the one of Fall Has Come, conceived for both the many live performances of the band, and to meet the tune of their niche of fans.
metropol parasol Metropol Parasol was born in January 2016 by an idea of Federico Giannini and Francesco Bocconi, respectively drummer and bassist of the band. A few weeks later Francesco Tamagnini completes the line up to the voice and together begin to write the pieces that will give life to Farabola, their first lp. Can you tell how you got here? â€œFarabolaâ€? was thought, written, deleted, rewritten and recorded in a few months. We
were born early in 2016 and already in September we had the disk ready for mixing and mastering. All this chaos has been the driving force for the whole disk. A chaos we tried to channel and tell everyone who wants to listen to it. What does it mean the title of the lp? Farabola is a ditch (or for those who never stop dreaming, a river) that passes behind our test room in Viareggio.We wanted to give this
title because it is the real starting point for this project. The record speaks of us, of what is around us and of our city. Your songs sound very different one from each other: if you were to give a self-definition of your music (such as catching a girl at the pub: “Do you know I’m in a band that’s playing ...?”) how would you tell it? To go to a girl at the pub we remind everyone that it is good to say whatever you think she wants to hear, saying this, we like to let others have the difficult task of getting caught in some kind. We like to see what’s coming out Why did you choose to cover Karoshi’s “Garrincha” cover? It’s a song that I (Francesco B, there are two Francesco in the band, right to go back to chaos) and we love Federico since the time it was written. Karoshi is a project by Francesco Caprai that no longer exists, we wanted to give her a new life. How is INNO born? INNO maybe it was the easiest song to start and finish, I think it’s been done all in one day. I pulled down the instrumental part and passed it over to whatsapp. Francesco (the other) immediately found voice line and words, recorded it on the fly and more or less remained unchanged until the disk was printed. People who writes songs knows how difficult it is to concatenate such events, we have been very lucky. Can you list three tracks that have influenced you particularly? Ohh, that’s a tough question, can
we tell 3 groups? Who keeps silent consents? Okay... so let’s say Royal Blood, because I’m the most recent example of rock making without guitars, then let’s say Fast Animals And Slow Kids, because Federico then kills me (I joke, I like them all 3), and finally we say Red Hot Chili Peppers, which have nothing to do with the Metropol Parasol, but have been for all three starting points at a young age.
RAGING DEAD 13 / 10 - Fish Fabrique - (Saint Petersburg) 14 / 10 - Rebel Pub - (Zelenograd) 15 / 10 - Gorod - (Moscow) 17 / 10 - Diesel - (Voronezh) 18 / 10 - Badland - (Rostov-On-Don) 19 /10 - Rock Pub - (Stavropol) 20 / 10 - Offender Bar - (Volzhsky) 21 / 10 - Antimatera - (Elets)
04 / 10 - Kiev - Barvy 05 / 10 - Zaporozhe - Chicago 06 / 10 - Dnepr - RK Club 07 / 10 - Karkhov - Zhara GAB DE LA VEGA 20.09 – D – WITTEN – The Curly Cow 21.09 – D – WUPPERTAL – AZ Wuppertal 22.09 – D / NL 23.09 – D – DUISBURG – Syntopia 24.09 – D / CH
IF I DIE TODAY
andy k leland Andrea Marcellini aka Andy K Leland survived the dissolution of his former band, My Cruel Goro, to put on a six-song ep the start of his solo career. Happy Daze is a folk-inspired work: we asked to Andy a few questions (but he answered only to the ones he wanted, and how he wanted).
How and when did you realize that it was the case to “put your own” and make a whole ep? I’ve always been on my own, but I was not aware of that. I remember there was a strong electric shock. Ekim told me that there were too many of us inside and time was about to
of its own or you see it as a way of approaching a near lp? I do not know. I have many ideas in my head, but now I just want to enjoy the present.
expire. He added that only one could stay and stand in front of Biloba. Then he disappeared. I felt exhausted after that weird experience and I just fell asleep. I opened my eyes at 4:45 am. I do not remember what day it was. Someone was crying out loud, windows exploded making a deep, roaring sound. Water all around, but The Bubble was warm and said: “You’re on your own. You’re the one”. I’m aware now. Can you describe how the “Happy Daze” work went on? I had many songs recorded at home on my phone. By the time I had no clue what this could have led to. One day I was listening to a few of these little rough creatures when I suddenly thought: “Cool!”. Besides my voice and my acoustic I could hear some humming noise. You know… sort of ambiental, domestic sounds, birds whistling (even some dogs barking at times). It all felt so pure and honest. In the studio it was the same thing. I just kept the same attitude: few microphones, home atmosphere, windows open when it was too warm, closed when it was cooler. I just got into the right mood and let it go. It was very spontaneous and pleasant. As if I were playing my songs for the first time. Huge thanks goes to Michele Bellagamba, the guy who recorded ‘Happy Daze’. A friend and a very professional, committed bloke. How was born “Home Grown Muck”? Like the others. I went on a journey, don’t know where. And I can’t remember a single thing. What are your key points? Who did you inspire by writing? Visionary cinema, neuronal electrical activity, intuition and vitamin D... The ep has just being released. It is a work
reviews with a more intense pathos. Il Nido delle Sucubi returns to the suite mode, with the strings supported by the piano, with more vibrant and intense sections. It closes with an articulated Arrivi all’Aurora, opened in an melancholy manner, then continues to grow to a final escalation. Alongside the instrumental expertise, the band tries to don’t fall on the pompousness, unfortunately classic in some prog rock. In contrast, the songs here are constantly in motion.
Unreal city “frammenti notturni” Unreal City returns with new lp, Frammenti notturni. If the previous two records had contributed to spreading the name of the band within the international progressive scene, thanks to concerts in Europe and overseas at the Canadian “Terra Incognita”, this third chapter is intended to consolidate its name status the tip of the Italian prog-rock panorama. The current formation includes Ema Tarasconi, composer of music and lyrics, keyboards and voice, Francesca Zanetta on guitar, Dario Pessina al bass and new drummer Marco Garbin. At the recording of Frammenti notturni, which took place at the beginning of 2017 at the renowned Studio 2 of Padua, Matteo Bertani participated as a guest and the vocalist Camilla Pozzi. The album opens with the long suite La Grande Festa in Maschera, which unveils the links with progressive Italian history (PFM on all) since the title: but the sound chosen by the band is quite contemporary, keeping the ties with tradition mainly through the structure choices of songs, rich in movement changes, and the style of the song. A less festive and more restless Le luci delle case (spente), which inserts into the initial violin a very clear guitar phrase followed by the input of the other instruments, starting with the organ. The song becomes dirty and reveals almost funk instincts. Next is Barricate, shorter than the two opening pieces: the song carries
Solchi is Godblesscomputers third lp. Through its previous albums, Veleno and Plush & Safe, Godblesscomputers has become one of the prominent names of Italian electronics. Lorenzo Nada is born in Ravenna in 1984. He formed himself as beatmaker, producer and dj, moved by an early passion for samplers and vinyls. The opening is liquid with Brothers, with a narrative voice, which accompanies some sparkles and some small movements. With How About U there is an important passage: the song is a soul/ R&B tune sung by Davide Shorty, extremely warm and enveloping. There are also human voices in Just Slow Down, which, however, articulates, fragments and breaks down into a variety of different nature ranks. Wherever You Say whispers, opposing
the song (by Francesca Amati) irregular rhythms. Adriatica goes back to fishing in black, nervous and with some hip hop action. But if hip hop is just a suggestion within Adriatica, Life on Fire passes the barricade, thanks to the contributions of Forelock for the sung and Paolo “DubFiles” Baldini which directs rhythms to the dub. After the El Destino interlude, here comes Glue, daughter of a “scrap” written for Poison. Then here is Dreamers, with the contribution of Klune, surely one of the songs with greater emotional impact of the lp, still infused with soul but also enriched by a melancholic electric guitar. LIP enters the “pure” electronics songs, between slides and sloping tiles. Records instead retrieves decently vintage sounds and a dance-rhythm. The soft 1989 interlude is a prelude to Don’t Need, which opens on Vangelisian suggestions and then runs between microwaves and flashing lights. It is then proceeded through other liquidities with Disquietude, before the r&b comes back to occupy the scene with Father’s Light, who sees the featuring of Inude. It closes with childish sounds of Freddo, a rather dull closing of an album with many lights. Growth, enlargement, openness to other genres, significant and functional collaborations are evident, towards more and more ambitious projects. And the the talent of Godblesscomputers holds the aspirations perfectly.
hlfmn “you’re shifting now” You’re Shifting Now is the new HLFMN
lp: seventeen electronic tracks moving from bass music to dream pop. The album opens on the traveling waves of Dance, not quiet but certainly not sounding like dancefloor, with some oriental suggestions. About East: Yin works harder in the dark, while the next Gypsy Girl is marked by a lively but not cheerful liveliness. Full of rhythm and a bit more pop is Seismic Love, characterized by a remarkable attention to detail. Then comes Farewell, who certainly brings some of the spirit of the first Moby. After the brief Relief, here’s Magma Volcano, which leverages voices, drumming, soul and r&b. Go Out is also a bit more relaxed than the previous one. With People from the Woods we continue in bucolic atmosphere, between meadows and fountains. Into the silence adds a moment of delicacy to the panorama. Scandinavia part I has voices that start from afar and crystal sounds that turn out to be sharp. The second part of Scandinavia moves on not very dissimilar ice tables. Far decide for a more minimal path. Minimalism, but not necessarily spiritual research, ends with the Monastery, where the monasticism in question is obviously eastern but also techno. Sunset leads us to the end of the record, through the bare but rich landscape of the countryside. All is light is a simple and solar piece. Closing, with Endless Game, is peaceful though with some surprise. HLFMN complements his virtues and puts them on a encyclopedic lp.
reviews Cure. A good and significant record, the second of the Secret Sight, which faces a phase of evolution. Songs slide off quickly leaving good feelings.
secret sight “shared lonelines” Shared Loneliness is the second lp of Secret Sight. Presented as a work of “evolution and maturity”, the Anconetan trio faces issues of decadence and alienation with a re-elaboration of the post-punk/ new wave of debut. Born in 2014 as the Coldwave project, Secret Sight begins their journey realizing shortly the Day.Night. Life debut album (Red Cat records). The band then separates from vocalist Matteo Schipsi, deciding to continue as a trio and start working on the second work, whose production is entrusted to Alessandro Ovi Sportelli’s hands (Prozac +, Baustelle, Diaframma, Zen Circus). The new album will be released for the French label Unknown Pleasures Records (CD Edition) and Manic Depression Records (Vinyl Edition). After the introductory Lowest Point the record starts on dark tones and clearly influenced by the new wave in Stage Lights, actually very light but very fast. Speed is also among the features of Blindmind, which refers to some commonness with more recent groups, such as Editors. Fallen keeps on high emotional levels, highlighting the rhythm section. Some slowdown occurs with Flowers, part of the most melancholic of the album. Instead, Swan’s Smile returns to feelings, while Over kicks on drumming to get life-long cycles. Western modes and resonant guitars for a very animated Surprising Lord, before closing with Sometimes, with some echoes of The
deison & Mingle “tilaventum”
After several years of its conception, Tilaventum is ready; it is a project designed by Sandra Tonizzo who, together with Deison & Mingle, pays homage to the river Tagliamento; a place of the soul described in 11 snapshots that over time have collected the sound contributions of various musicians / friends who share the same love for the river. “Apparently a common river (from the passage to one of its bridges you can only look like a gray expanse of stones) is an extremely precious ecosystem and it is considered to be the last intact river corridor of the Alps. For its primordial conformation is studied by researchers of all over the world to renaturalize other urbanized rivers.The history of this river descends into a tangle of blue meanders that change continually and from one season to the next give different coordinates: Cambodia without the temples spikes, the Caribbean with ice in the water and that from above look like the human arterial system”. The lp, as it is customary for the two experimental and avant-garde, opens with Arteria, a continuous stream of sounds that is occasionally interspersed with deep introspections. Ti-
limenti makes the lighter grip, but as the sensations taper, underground movements grow. Rarefact emotions are those those transmitted by Agane, while breaking the banks with La Piena, which however is not as torrid as one might expect. Sotterraneo returns to a more intimate and modest mode, but there is some emerging phenomenon in the coming. Grave is soft and electric, lazy and in chiaroscuro. Pietra viva, in opposition to earlier rather “stable” tracks, promotes sound growth. Growth leads to a track between industrial and metal as 21.00.12, followed by a return to some tranquility with Savalon. We travel to the final with the soft and ethereal Nel tuo letto, before the river’s journey ends with Ajar e Aghe, the only episode sung by Anna Comand with delicacy and almost timidity. Another remarkable work by Deison & Mingle, who this time photographs the flow, even temporal, of a great river using always weapons but also a sensibility flow-sensitive.
the command to update the page to the computer ). Within its nine tracks, the constant theme is the difficulty of establishing authentic relationships with others and the attitude of pretending in all social and personal contexts. The first track of the disc is 2 Prede, a special opening featuring tribal beats, pischedelic sounds, a widespread sense of challenge. Theatrical and almost progressive (but without being nostalgic) is On the Net, another song with consistent rhythms.Some quieter sensations and a remarkable groove marks E la Pioggia Lava l’aria. Quello che è addosso starts at full speed, bringing quite dramatic feelings. L’alieno prepares for rhythm changes and shows different scenarios, using electrical and electronic ideas. Greater detachment in a cosmic Siderale, where the shoegaze ascendants appear in more clear evidence. Electro beats are the ones of Favola Noir, which receives impulses almost from dancefloor. Black Bloc proves to be more aggressive, advances some hypothesis about the true nature of the movement mentioned in the title, and tears the tones with the help of a funky guitar. The album’s exit door is Goodbye, soft and sung in English, on dreamy trails. Shoe’s Killin ‘Worms manage to diversify their energies in different directions, catching on different influences and obtaining a disc with many faces and obvious inspiration.
shoe’s killin’ worm “f5”
Shoe’s Killin’Worm are born in Foggia in 2004 as a minimalist trio of indieshoegaze and electronic inspiration with a line-up of voice, guitar and piano-synth programming. Since 2008, the band has been playing stable with bass and drums. After publishing two self-produced works (Box with View and s / t 2012), they now see their new album labeled Seahorse Recordings entitled F5 (with reference to
alice viola Alice Viola is a singer and composer from Parma, who has lived in several cities over the past ten years. Her experience is now condensed into A Long Trip, a self-produced lp, with sound ranging from jazz, soul, to r&b. Can you tell your story so far? Iâ€™m a soul, jazz and r&b singer. I started listening and loving this music since I was a child, thanks to my parents who introduced me to these sounds, in our house there was always music, great music. As I grew up I became closer to soul, jazz, more acoustic and sophisticated sounds. When I moved to Madrid in 2007, after graduating from Arts and Entertainment at the University of Parma, I ope-
ned myself to a new world. Madrid, who was musically bustling and gave me the chance to find out how jazz, soul, funk and R & B could be fused with flamenco, Latin music, especially Brazilian and Cuban, was my first real personal and artistic training. In 2010 I decided to move to New York City where I lived for two years and here my music education was enhanced thanks to Rene Manningâ€™s lessons at the Brooklyn Conservatory and Bob Stoloff and Barry Harrisâ€™s scat workshops. New York has changed me all the way and most of the songs I composed and that are enclosed in A Long Trip, my cd, were born in the time I lived there. I was overwhelmed by the adrenaline discharge of this city, its diversity, the music that is at every corner and where the
Your personal site is ready now... My site, www.aliceviola.it, was created by Sulima Montalvo a friend and collaborator of Madrid. Fans who follow me can find the event section, with all the concerts and radio and magazine interviews, and buy in an easy and direct way my cd. In the site you can get to know me better as artist and also listen to some songs taken from A Long Trip. What are the differences in playing in Italy or in other countries? I am now a citizen of the world and I have to say that there are actually some differences in playing in foreign countries. In Germany, but not only, there is a big difference in economics, so an artist here has the opportunity to play more and with higher cachets. There is an incredible respect for all the arts and my work is considered just like any other, allowing an artist to have a life with a minimum of stability. Compared to Italy, in other countries there is a greater mental openness towards music and art in general. That being said, I love performing everywhere, I do not have preferences and I’m happy to go home for playing in concert. It’s always a pleasure for me. October 18 I will be in Germany at the Jazz & Blues Festival - Kultur im Oberbräu-Fools Theather accompanied by Rene Haderer, Simon Japha, Timothy Millee, Diego Riedemann, band with whom I perform often, especially in Germany. October 20 I will be in Parma, my city, for a concert at the Gran Caffe dei Marchesi, Jazz Club of the organizers of the Barezzi Live Festival, accompanied by Michele Bianchi and Andrea “Satomi” Bertorelli.
sensation of loneliness and crushing alternated with the feeling that everything was possible. NYC’s energy and the possibility that this place has helped me with many musicians coming from different roots and cultures (Afroamerican, Cuban, Spanish, Brazilian, Italian), has contaminated my way of listening and making music. Then you came back to Italy... I started teaching in Rome at several music schools, and in particular at Voice Art Dubbing, dubbing school, based in Rome, Bari and Naples, besides the dubbing of Dante Biagioni, Bruno D Alessandro, Antonio Palumbo, Nino D’Agata and Carlo Valli. I played in several local bands including Groove ‘Seed. In Parma I have continued to collaborate with several musicians such as Michele Bianchi, Claudio Tuma, Luca Savazzi, Mirko Reggiani and others. In Rome I started studying with Stefania Tallini piano jazz and with Elisabetta Antonini jazz improvisation. I moved to Munich for a year and a half and finally managed to make this album: A Long Trip, synthesis of all these life experiences and music that have transmitted sounds, colors and stories to tell, some biographically. Can you tell something about the album? 11 songs composed by me and arranged with Andrea Satomi Bertorelli and Michele Bianchi, with Gabriel Barreira on bass, Daniel Scheffels on drums, Luca Savazzi on piano, Andrea Satomi Bertorelli on keyboards and choirs, Michele Bianchi on guitar, Elisa Aramonte on choirs, Franco Capiluppi on trumpet and flicorno and Yuvisney Aguilar on percussion. It is an international album, very varied and with Nu Soul sound, R & B jazz.
new voices from florence: francesco garito & marco cantini Radici Music is an independent Tuscany label, born in 2001, promoting artists who love to make music mixing the roots of Italian music with different styles. A couple of musician in the roster of the label are Francesco Garito and Marco Cantini. Both live in Florence (also if Garito hails from Calabria) and both are now publishing their new songs. Garito has released L’Attesa, his new album. Six years have passed since “Fotografie”: why so long between your debut and “L’Attesa”? As can be seen from the title of the album I
expected the inspiration, to have something to say and to say it with a sound that represented the soul of the songs. Thanks God I do not write as if I should stamp the card and I let the songs arrive to me at their time, without forcing anything. When the tunes I had in my hands seemed good, the artistic meeting with Stiv Cantarelli came to an end and six years had passed since the first record, if I did not meet Stiv perhaps the disc would not have been conceived. There has been much emphasis on whether you recorded the disc in analogic: can you
explain this choice? Perhaps the beginning spring was curiosity, I knew for sure what I did not want, that is, a record that sounded “industrial” but I did not know how to do it and Stiv was the way to record in an analog studio (“L’amor mio non muore” of Roberto Villa in Forlì) who does not give you any parachutes: you bring back into the studio what you’ve been trying at home for months and everything is deliberately left as it comes out of the instruments and the voice, even the small imperfections that in my opinion return heat, humanity of poetry. In short, an artistic choice. How did “Farenheit 451” come about and why did you choose it as a single? The inspiration came from Bradbury’s book, some year ago, it was a hot spring, I was in Rome for working and that day the Capital hosted a meeting of Heads of State, the city was armored, closed streets, helicopters flying over it , I’ve been through an infinity of walking quarters and this situation made me feel like a character in the book, I stopped in a bar to drink something fresh and at a coffee
table I wrote the lyrics, the music came some time afterwards. The choice as a single was dictated by the atmosphere that the song returns, I think it is a good idea for the lp’s intention. What prompted you to cover De Gregori’s “Il Panorama di Betlemme”? De Gregori has always been my reference since the tender age, but I have always tried to “avoid it” as if I did not want to show his influence on my music. In this case, the song, evocative and agonizing, has been completely reinterpreted and slowed down compared to the original and I was comforting and hugging at a particularly painful moment. Can you talk about your “Street Artist” experience with “Open Art”? In 2003 I made a trip to Scotland, in Edinburgh I found myself in the middle of the “Fringe Festival”, the biggest street art festival in Europe, and I was blown away. As soon as I arrived in Florence in 2004 I began to perform on the street as an abusive, then thanks to some colleagues I was able to take the regular permit and since 2009 I am recognized by the City of Florence. It is a wonderful experience of association because I was the founder of “Open Art”, which collects a large slice of artists on the territory of Florence and then the street offers an inimitable stage, who listens to you in the street because really wants it without filters and in my case I think my respect for the city is appreciated and felt. In the end who is in Santa Croce Square is not for me but to admire the beauty of a place, and I can give something more to that place. Then there are so many encounters, children who are enchanted to listen
to you, you play a song by Fiorella Mannoia and you find them listening to, or the American tourist coming down the street from your apartment to thank and dictate their daddy from Montana who loves song that you just finished singing... In short, the road is real life”. Marco Cantini is working on his new album, but he’s already released a particularly significant anticipation: the song “L’Orrore”, who tells a tale from “La Storia”, celebrated book by Elsa Morante. Let’s start from the song: how did the idea arise and what were the biggest difficulties in dealing with such a delicate but somehow so still actual situation? “L’Orrore” anticipates an album that I’m about
to release in early 2018. I’m not talking about difficulties, but the desire to resume a discontinued discourse in the previous record work. I felt the need to continue to tell other people’s lives that belong to us, the History of the Lost, Mortuary History by definition. And I considered the work of Morante ideal for my purpose: a novel aimed at recovering a social and civil consciousness, against the system of overwhelming, a “extreme and bloody champion of the entire historical millennial body” as she herself defined it, telling that point of definite horror represented by the twentieth century. I would like to consider this record as a novelty of the novel, which in some way also emphasizes my interpretation of the book itself.
“meditated”: can you tell something about its workmanship? I would like to remind you that it was made by friends Giacomo De Bastiani and Lorenzo Ci, who are from Pontassieve just like me: their precious contribution to this musical project will continue in the future. The track tells a rape that occurred in 1941, but the purpose of the images was to evoke the violence of abuse, elaborated and perceived by a woman - sadly, today as then - in everyday life. Highlighting its inner coexistence with the indelible wounds that such a act involves. “L’Orrore” will be part of your next album: can you anticipate something about it? Unlike the previous one, it will be a work recorded largely in direct recording. In November I will go to the recording studio with the artistic producer Gianfilippo Boni and with other excellent professionals with whom I am fortunate to work for a few years: we will try to make the songs more “live” by exploiting the empathy of the musicians to capture and fix that groove and those emotions returned by the pleasure of playing live. How is your collaboration with Francesco Moneti born? I contacted Francesco in the spring of 2015 to ask him to play in “Technicolor”, a song of “Siamo noi quelli che aspettavamo”: he accepted with enthusiasm after listening to the song, and from then it was born a collaboration and a friendship that for me is a cause of great satisfaction.
What impressed you especially in Morante’s style of writing? Morante recovered the nineteenth-century tradition, made a popular novel to get to a vast audience, had the courage to stay out of any political and literary model acceptable in 1974 in Italy (the novel’s release year), and she said to reflect on the mechanisms always oiled with a power that crushes and destroys, which cyclically makes History at the expense of millions of human beings. In this, after more than 40 years, it remains indisputably current. As I said earlier, for me to give homage to the writer and her work was also an opportunity to prolong a wider project - aimed at investigating and indirectly setting a point of view on our social and political past - started by “We are those we expected”. Even the video seems to me particularly
click and play tethra like crows for the earth
giunto di cardano yez!
gab de la vega
giuliano vozella & junior v
i want nothing
a shoreline dream
room for the others
raise your head
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