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Il Sogno di Itaca (bianco) - 2005
A minimal cross-section of the last part of Homer’s Odyssey.
Typically progressive in structure – with acoustic sounds, classical and electric guitar, powerful percussion, vintage keyboards and Hammond organ – 15 tracks make up a total of 50 minutes of music. The four main characters are sung by pop/rock voices (among whom, Fabrizio Voghera as Ulysses and Elena Roggero as Penelope), while the character of Athena is interpreted by a classical opera voice.
Simple and effective vocal melody lines on base lines articulated in different tempos confer on the work as a whole great originality, keeping the progressive ‘brief’ intact while still remaining very listenable and enjoyable for even the less attentive listener. |
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Inca - 1993
The second - and final - album of the group Syndone (‘Shroud’), Inca is definitely the one which comes closest to the acoustics and the progressive rock composition style of the 1970’s.
Inca isn’t a concept album like Spleen, but brings independent, seemingly unrelated pieces together. The only unifying element is a more or less deliberate celebration of the indigenous South American civilization, its rituals and its holocaust.
On Inca, keyboardist Rogani joins the original trio of Syndone. Brought in as support during live performances, he’s become an integral part of the group in every respect. |
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Track 04
Il salto degli amanti |
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Spleen
- 1992
The English word ‘spleen’ suggests a particular mood – frequently defined by Baudelaire as ‘ennui’ – composed of sadness, desperation, inability to connect with the outside world, existential angst: “desperation, with no way out, which can’t be traced back to any concrete cause… it is paralyzing fear, panic at the inevitable delusion that ensnares our lives, the complete and ruinous descent into this terrible condition" (Auerbach).
This CD is the story of a young man (Kiin) who experiences spleen everyday because of his inability to adapt to society and to the rules it imposes on him; the hyper-sensitivity of ourprotagonist is completely unsuited to the squalid compromises, the baseness and the incoherences that a person has to adapt himself to or submit to every day in order to survive in this society. It’s a bit like the young boy of Pascoli’s poetry: pure, perennially a child, suffering because reality is too hard for him.
The pettiness and the violence of the world, the total submission to a materialistic and oppressive father and the gradual loss of all the values he believes in project Kiin into a parallel world of music; in fact, it will be through music and inspiration – personified by a young woman (Marianne) – that he will rediscover his values and the strength to begin to live again. |
