Traks #4 by Fabio Alcini

No.4 - April 2016 WWW.MUSICTRAKS.COM

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Tre Allegri ragazzi morti “INUMANI”, THE REVIEW Vallanzaska: 25 years on the ska way gUIGNOL, A NEED FOR RENEWAL Torakiki: a work done collectively

REVIEWS

INTERVIEWS

NEWS

contents 4

Interview GUIGNOL A NEED FOR RENEWAL Interview VALLANZASKA 25 YEARS ON THE SKA WAY Interview TORAKIKI A WORK DONE COLLECTIVELY Review TRE ALLEGRI RAGAZZI MORTI

Review SO DOES YOUR MOTHER

Interview REV REV REV A MORE DEFINED SOUND

REVIEWS

Interview FRANCESCO ZUCCHI

Interview POLAR FOR THE MASSES

Review BANGARANG!

VIDEOS TO SEE

Review FLAMINGO

ITALIAN BANDS IN EUROPE

TraKs magazine is an online emission supplemental of www.musictraks.com Editor in Chief: Fabio Alcini info@musictraks.com

interview

Guignol a need for renewal

need for renewal, but also for throwing songs hard like stones: it is called Abile Labile the sixth lp of the career of Guignol, which have changed face but no substance. We exchanged a few words with Pierfrancesco Adduce, leader of the band. There is much renewal behind this new album, starting with two new band members. What did prompt you to this mutation? It was necessary. Over the past four years, Guignol have undergone several internal upheavals: there was not a character reference and too was left to chance or to the individual component that arrived to make a contribu-

interview

tion for an unspecified period. The thing had heavy repercussions especially on the occasion of the many concerts that we did. There was to invent something each time and the solutions were not always convincing. With the entry of Paul Libutti on bass and Raffaele Renne on guitar we have a clear connotation as a group, we have recovered a range of audio solutions with the precariousness of the situation, that before we could not afford, we bought in stability and strength, therefore, all made me even more free to go back to being a more effective performer as well as more theatrical on stage, not having to assume responsibility for all aspects related to the sound, the guitars etc ... Record lives of very strong contrasts, it is often very raw, but itseems animated by feelings far from pessimistic. In what context and atmosphere the songs we were made? Since I am the author of all the texts of Guignol, as always, I’ll tell you that the songs were made within a year and a half; in writing I was mainly at home, at night, where you can concentrate. The atmosphere was the one of personal, existential and material maximum uncertainty that, now as in the past (even more than yesterday!) characterize my life. This, together with the intention to put together a sound human and appropriate environment and group for the new job. Can you explain the reason for the cover of Piero Ciampi, and why “Il Merlo”? Because we liked the song, because we had already played it in concert, because we had made our own version, very different from the original, and because it is very illustrative of his figure of a man with great leaps, and at the same time able to slide to the edge of selfharm.

How did is born “Sora Gemma and crucified”, in my opinion one of the best song of album? It arises from the image of a crucifix that I found in the room of the house where I am now, after my removal of two years and a half ago. By chance I found myself to have on the table beneath it pictures and plaques of brothels of the years after the Great War and the fascist period. This while I was following a research on a show to be set up on the centenary of the Great War. And then it is born the character of Gemma: mother of a son who died at war, or who knows where, madam, woman of life, devout in her own way but not willing to abandon her professional and personal choices. A set of sacred and profane. Who are the Italian independent artists that you value the most right now and why? I don’t follow much what happens within the so-called independent Italian... The first names that we could do are to Lilith & The Sinnersaints, Salvo Ruoloe and Guido Giubbonsky, also because they are people with whom we work, and we have collaborated recently. Artists away from fashiionable “indie” revolutions, and especially artists from varied tastes, always capable of contaminating and be contaminated. I might also add Cesare Basile and Bachi da Pietra, Steve Cantarelli and the Silent Strangers ... The last Marco Parente, Luminal!

Click here and listen to “Abile Labile”

interview

Vallanzaska

25 years on the ska way

wenty-five years: Vallanzaska are celebrating a quarter of a century in business. The event is celebrated with a proper tour already started, and it will continue with various initiatives. We have joined the choir to celebrate the band from Milan and we interviewed Davide Romagnoni, “Dava”, the singer, who was already there at

the time of the first concert, 25 years ago. You are not a particularly “institutional” band, rather the reverse, however, the 25th anniversary for a band is important. What do you remember the beginning and the February 14, 1991, the official start date of the band’s history? That is the date of our first concert, we played

a private party in Milan, at the occupied community center Serra, we did cover of Madness and the Specials and the same week we also did our second gig... And so that started the our great and beautiful adventure. What do you remember of those days? There have been many things, but you could not say anything in particular. I can say that

in 25 years of existence we have seen a bit of everything and we had the greatest satisfaction when we began to see the audience singing our songs, today may be normal, but then it was a great source of pride. The perception of having the fans is very satisfactory, it gives you the idea that he had chosen the right path.

interview

Two words on the name of the band, reminding the one of notorious bandit Renato Vallanzasca: I can imagine that at the beginning you choosed it as a joke, and yet in the end it has become almost a flag, since you also have collaborated with the bankrobber in the course of your career... You are right: it wasn’t a joke, but we are a group of Milan and I was looking for a name that had the ending in -ska, which then they made many other groups and we ourselves have taken from the French scene. In the world of ska there are always references to gangster, from Al Capone on, also in the look, even if we have always presented with a casual look. I choosed Vallanzasca, well known bandit Milan. If Vallanzasca was called “Rossi” we surely weren’t called Rossi...

It was a provocative issue, not the exaltation of his gestures. Then it happened that we have known him. At the time you were a cover band Madness and Specials. Today among cover bands and original bands does not run very good blood ... Do you want to say a word about it? We have done a piece that tells our point of view, and it is even called Cover band. The cover band is fine to begin to compare yourself with your running ability. Then it is true that there are cover bands that take their name and look from the original band. I’d say go to hear groups that make original music should be more interesting than to hear of renovations, although there are cover bands who have their dignity.

What are your favorite record and your favorite song of Vallanzaska? Hard question! They are all very different... I really liked Thegenerazione, which contained two songs that I liked as a Generazione di Fenomeni and Bicchiere. But perhaps the records that have had more feedback were Cheope and Sì sì sì no no no. What will be the characteristics of the concerts of this tour? Playing for 25 years it happened several times to make celebrations, but we did not want to “lp of the 25 years”, we prefer to publish new pieces when we release the new album. But many times we are asked in concert songs that we can not always do. So this time we do a good lap in which redo many songs even 20 years ago, taken from records like Otto etti di

ettagoni netti and Cheope, pieces such as Divano, Ere or Skipass. We do a tour almost in black and white, very vhs, we have adapted by changing the structure, but there was a nice job of rearrangement. Who is attending your concerts today? Most nostalgic or more kids, maybe children of the same nostalgic? Everyone you said, there are those nostalgic, sometimes with their children with the ridge. It depends a bit also by periods, basically there are university students, 20 year old, sometimes of kids, a lot of new fans. What are the tips that you give to those who put together a band today? The first thing is the commitment: it is not you pick up the guitar and the success comes quickly. And originality pays.

interview

“A

vesom” is a deformation and Italianisation of “Awesome”: this is the title of new release of Bolognese trio Torakiki. Seven tracks mainly electronic, holding at bay the temptation of synth pop and packing a peculiar sound. We asked them a few questions. “Avesom” comes a year and a few months after the ep “Mondial Frigor”: can you tell what did happen to you during this time? It’s been a very busy year. We did the typical

Torakiki A work done collectively

CLICK HERE AND LISTEN TO “AVESOM”

interview two hardest songs of lp? Essentially they are two of our friends. They have a beautiful voice. Everything was spontaneous and natural. It seemed that women’s footprint could give a strong personality to the parts in question. Can you tell the main instrument you used to play on this record? Analog synths, bass, computer, keyboard. Who is or who are the Italians independent artists that you value more right now and why? We love the sound of Populous and Capibara. We listened with attention the album of Matilde Davoli and we found it exciting. We are logically close to the Bologna scene, in which we love Lips Against the Glass.

things that a band makes, playing around and arranging new material. In a previous interview you told me that you worked on the tracks from “Mondial Frigor” separately and, afterwards together. Did you build the tracks of “Avesom” the same way? It was a work done collectively. The songs almost always start from an individual idea and then they were chewed in the studio. From this point of view it was a decidedly more complex work than the one in the previous ep. Can you explain why did you chose to publish with a German label as Symbiotic Cube and what kind of reception they have reserved to your band? We mutually chose each other. We have done a careful research and we loved Symbiotic Cube proposal. It’s an electronic music netlabel that organizes events, distributes music, promotes both the fruition of compositional side in terms of night and dance. We really liked this approach. It seemed clear and concrete at the same time. Can you tell something of the genesis of song “Luxard”? Luxard is one of the first songs for the record. We have already “given birth” to the song before the release of our previous ep. It’s a song born out of a synth riff, on which was built a powerful rhythmic structure, surrounded in turn by light and ambient sounds. It contains all of the elements that characterize our creative process. How did you choose the two female voices of the disc, Giulia Olivari and Ilaria Ippolito, and why you chose to insert them in the

Published by German label Symbiotic Cube, Avesom is the new Torakiki record. The Bologna electronic trio here comes to a job with seven tracks full of significant sensations. Lp starts with moderate sensations of Pitch, which aligns small drops of sound in a minimal introduction, then ready to make room for heavier gauges in the song’s proceeding, also characterized by loops and synthetic voices of airport type. Luxard starts in the most massive way instead, which dangles transparency in some reference to the 80s synth pop, but it’s not the case to be pulled in too deep by the cross-references. It highlights especially the rhythm, in an intense and also crude

the review the speech is muffled with Tr2, in which prevail low tones, even if the rhythm of the percussion is important and marked. Lp closes to, after all, quiet Kendo, alluding to the Orient without falling in Orientalisms. â&#x20AC;&#x153;Importantâ&#x20AC;? is the adjective that arises spontaneously and that is right to associate album of Torakiki. They had already flashed good potential with the three songs of Mondial Frigor, but the trio here exceed expectations and make several steps further, leaving more than everything glimpse further potential in different directions, virtually all those who can choose from here on out.

song. The voice, instead, tends to remain in the background. O.A.U. also lends itself to considerations of powerful synthetic drums and some vintage temptations, but the track has very mixed flow dynamics, and also hosts the voice of Giulia Olivari, who loan her soft voice on a tune full of strong contrasts. Tripolar plays with vaguely new wave tones, with some movement that moves below the track surface. Back to a female voice even in ## Pap: this time is the one of Ilaria Ippolito and also in this case we are faced with contrasts rather significantly greater. The song is very fast, at the limits of dance rhythms, and relies on very sharp sounds. On the contrary,

review

Tre Allegri Ragazzi Morti Four years and several projects in the garden after the ghosts, Tre Allegri Ragazzi Morti return to publish an lp of unreleased songs. It is Inumani, produced by Paolo Baldini, last part of the trilogy that began six years ago with Primitivi del futuro, and also authentic point of touch of TARM with contemporary Italian music. The hard fact puts together some “big names” in the context of collaborations, both as vocal and instrumental interventions, both as writing texts (from Marie Antonietta to Vasco Brondi, as Viterbini of Bud Spencer Blues Explosion or Alessandro Alosi of Pan del Diavolo, from Alex Ingram to the already much-publicized double collaboration with Jovanotti), but especially hi-

ghlights the desire of Davide Toffolo and its band to change very often and to offer the widest possible range of sounds to its listeners. It starts with Persi nel telefono, with some rock that leaves room for two of the most “sensational” collaborations or lp: Adriano Viterbini of BSBE offers interesting ideas (although quite controlled) with his guitar, and then the hole in space-time which let the voice of Lorenzo Cherubini, aka Jovanotti, offering a cameo. C’era una volta ed era bella takes up the way of a broad ballad, in the words of Peris Alati writer. Back with Jovanotti In questa grande città (la prima cumbia), South American rhythms and gentle verses, dedicated to Milan, curious event for

a band that has made the province their engine and their strength. Then goes Ruggero, written by Toffolo with Alex Ingram: the colors are darker, the ballad in this case is rather “funeral” and returns a bit of vintage TARM. Libero is another “all star” song: Viterbini and Federico “Tich” Gava to farfisa, on a text by Vasco Brondi, for a piece funk flavor/soul. We switch to reggae, quite usual dress for the band, with E invece niente, written by Marie Antonietta. Disponibile draws on a simple bass line and harsh guitar tones, inconsistent with a serene vocals, for a piece written with Alosi of Il Pan del Diavolo. A un passo dalla Luna is one of the most intimate episodes of the record, not only for sound but also for the tone in which the piece is written. Far speech to L’attacco, which talks about aliens landing: the elements are simple, but the drumming is pressing and the guitar is no exception, in one of the most direct songs on the disc.Very sour and pulled La più forte, full of not quite positive feelings. The album closes with I tuoi occhi brillano, the most playful and with free reins song in the whole disk, with something

of an old Franco Battiato that seems to emerge in the rhythm. With a career that now represents one of the lintels of the independent Italian music, Tre Allegri Ragazzi Morti no longer have much to prove. In fact, Inumani seems precisely this, the album of a band not particularly under pressure, which seeks to bring to the table what it has to offer today, who likes to involve friends and even people apparently far from their world, trying to collect sparks and inspirations even outside. The album probably will not be remembered as the best of the career of TARM, but it belongs to the category of albums that make sense from multiple plays. And this is a feature typical of only strong lps.

CLICK HERE AND LISTEN TO “Inumani”

review days. Swallow is structured much in the same way, with prevalence now of the bass, now of the saxophone, now of the guitar, with a few moments of meditation that in this case breaks the rhythm. Jazz drumming at the opening of Modern Seducer, which then opens to the bottom and turn on the engines of a very aggressive and quite acidic song, with pretty vintage electronic interventions. Totally instrumental Under the Roof, a roof under which to find space other flavors that are between soul and rock, with some quick impression progressive base. Strong flavor of soul even in Your Mother, quick in her expressions, capable of intense dialogues between instruments and voices. Funky in the introduction of Red Leaf, even if the rock sensations are never too far, especially when the guitar intervenes. The lp closes with a reprise sour and velvety of Modern Seducer. Record very weird, the first of So Does Your Mother, most of which is spent in vintage rhythms and sounds, but also projected in a mixture of genres that allows different levels of reading. Excellent quality on display from the band, which runs the only risk of exaggerating with modernism and to seem a niche phenomenon, when in fact the qualities enable a wider listening area.

So Does Your Mother It’s called Neighbours the first album of So Does Your Mother: a debut, produced by Marco Molteni of Mordecai Studio, which refers to genres such as progressive rock dance. Notable is the presence of Ike Willis, old singer and guitarist Frank Zappa, and singers Ghita Casadei and Maria Onori. Neighbours brings to light the omnivorous quality and versatile band. Album opens with Mitile Milite, after an intro soft decides to escalate suddenly and it enter guitars, drumming and horn on a sound inspired by progressive rock. At least until he enters a female soul choir soul 70s, tempered by a nonsense song in Latin. Following is M.D. (featuring Ike Willis), with instrumental prolusions interrupted by a dialogue. It’s almost obvious to point out the influences of Zappa on the track, but also on the album in general. The text shows clearly enough the earning prospects of a band these

Click here and listen to “Neighbours”

interview

rev rev rev a more defined sound

have faced? Can you explain the choice of the title? After the first lp, for a year and a half we played very much; while touring the pieces of the first record have changed and grown, we can say that we have a more defined sound, we found our precise identity approach. This made it easier when we finally managed to take a break to work on new songs, so in a few months we were ready and we went in the studio. The title... well on one side it is an lp made up of short pieces and self-contained, like Rimbaudâ&#x20AC;&#x2122;s Illuminations from which the

hey started calling it â&#x20AC;&#x153;Italogazeâ&#x20AC;?, to define the new wave of shoegaze that some significant Italian band are pushing, including records, festivals, tributes and collaborations. Among the bands that surfed on this significant wave there are Rev Rev Rev, who released the album Des fleurs magiques bourdonnaient and were among the protagonists of the last Cosmosis Festival in Manchester. We asked them some questions. After the success and the praise for your debut, as the work on your new album you

quotation of the title. Each piece has its own story, you can hear regardless of everything. A sort of anti-concept. Affinity is also on the themes and atmospheres, from the same phrase “magic flowers buzzed” with this synesthesia that seems suitable to describe our sound, as more generally the imagery of the works of Rimbaud and Baudelaire. Have you made changes in your way of working between the first and second lp or things have remained more or less the same? Yes, there is a fundamental difference in the approach: the first record begins with a way of doing things, the second part by the feelings and moods that we want to create and it dates back to the possible sonic means to achieve them. And so, in search of hypnotic suggestions I tried to introduce in the songs on the one hand the so-called brainwave entrainment, or particular frequencies that are studied in psychology for their properties to induce meditative states, the other the tanpura, Indian instrument that produces sound waves with the same properties acoustically. The tanpura that Tatiana Scalercio has played in several songs on the album, I also have “copied” the tuning for the guitar Nightwine. Another difference from the first album was a greater emphasis on melody, and finally the

synthesis: we are children of the post-punk, and we do not want to forget it. You recently played at Cosmosis Festival in Manchester: can you tell this remarkable experience? When you go to download your stuff and find the Jesus and Mary Chain who do the sound check, you have to wonder if you have the wrong place... What can I say, it’s been a wonderful experience, we have seen many of our favorite bands and played in front a beautiful public and who appreciates this kind of sound.

Click Here and listen to “Des Fleurs Magiques bourdonnaient”

reviews Bangarang! “Religione Catodica”

Electroadda “Electroadda”

Religione Catodica is the new album of Bangarang!, a concept album about the last sixty years of Italian television. The vocals are replaced by sampler, shooting out of context sentences in the background of instrumental songs that blend rock, funk and punk. Castro caro is the opening song, a rugged rock sound very rich of guitar, with lyrical fragments and other mixed voices, with an effect of alienation that will not leave the listener until the end of the album. Nano armata opens with police radio frequencies for a speech that of the detective stories also welcomes the ways. Quieter is Fuck Hero, at least at first, then the song undergoes a sudden acceleration. We proceed with Genitalia, which is expressed on rugged rock tones. Quieter ais the funk rhythm of Melisatalpé while Freaky Metal deals with increasing level of intensity. With Matzurka Zeta we descend closer to progressive. Pocoto Pocoto gets to more restless and more acidic harmonies sounds, here and there. And if Skrillex leads to clear signs of Italian cinema soundtracks, with Roberto we close on very serious and gloomy tones. There are stretches of originality in the album which highlights all its instrumental virtues getting routes to travel at very high speeds.

Sometimes you work on something for years without getting to anything of substantial. And then, behold, the spark there is and everything comes to life: Milan electrorock duo Electroadda publish its self-titled debut after a knowledge and collaboration dated 2004. The first song of the album is A Better Life, marked by a round of very consistent synth and voice that stands up to sing the ethereal situations. Star girl instead starts with guitar, with widespread blues feelings and a very strong and determined drumming. Instrumental evolutions in second part of song they reveal a certain satisfaction but also a remarkable mastery of the medium. Rabbits hill is back to more synthetic methods, starting from assorted beats, then grows, taking with them the feeling of something important that must happen soon. Tired intro is a crushed opening, with some folk aftertaste and electronic dynamics that lead towards drone and ambient. Tired smells instead of psychedelic blues, with good spaces reserved on guitar and drumming in great evidence. Many elements in a short time and space for Electroadda. But the substance of the album is positive, and so the ability of duo to prove versatile, alternating the scenery song by song.

Trompe le Monde “Ohrwurm” The Ohrwurm in German means “ear worm”, but it really goes to show those songs that get into the head and do not go over. This is the title chosen by Venetian trio Trompe le Monde, who bathes in high indie tide pulling out six pieces played (strong) and not sung, debtors of rock scene more than the post-rock. Departure in style for Senza clienti, which opens the ep with a rather bombastic drumming, soon dubbed by psychedelic guitars. Powerful is also the entrance of Doxa, dense of guitar sound, alternating with small moments of uneasy peace. The piece lends itself to some digression on the subject of mobile ringtones and is at the end a kind of diver-

tissement in the field noise. Acufene (una stagione all’inferno) does not lower the volume, and has a very compact base that allows for alternation of piano and forte, with strong that almost always prevails. Blob opens to voice anti-television declaiming and rhythmic drumming, which then leaves in the foreground the power of the guitar. Even within Festa grande on the spiral slide there is a rumor, but remains behind a guitar speech not too festive. The ep closes with Disfunzione, perhaps the first track entirely bleak, with a tail that takes the colors of melancholy.

newtraks Milan, in the prestigious competition ArtistaCheNonC’era at CPM in Milan: not everyone likes the sound of that, of course, but also the negative reactions when there against something that comes from you, have a different depth. By centering the initial request to the heart, why do I play? Because there is no better way to get into emotional contact with others. What are your points of musical references? You have an hour? To limit the number to 5: Eric Clapton, John Mayer, Jason Mraz, Glen Hansard, Sara Bareilles. How did is born the title track, “My Way Home”? From my experience on the Way Of Santiago, I have traveled not thoroughly and approach atheist (which are) a couple of summers ago. Too many feelings together, too many beautiful people I met, too many languages spoken / heard in 10 days ... and too many kilometers on foot, of course. I just tried to condense back into a song that I had tried to share it and especially to try not to forget myself.

Francesco Zucchi Twenty-six-year-old, doctor of medicine, but also songwriter, with obvious international roots: Francesco Zucchi wrote, recorded and produced My Way Home, his first album, published by 523Records. What brings you, a doctor, to take up the guitar and move far from home to carry around your songs? When I felt a pressing need to give another meaning to playing itself, after a period of shipwreck of my music, in an attempt to recorded a demo of my own songs to be proposed to clubs, I stumbled upon a couple of people interested in my “work” and it was born the record we are talking about. The result has been a huge wave of enthusiasm, which is giving me the energy to get in the game every time. I played recently at a festival in Poland (OpoleSongwritersFestival), in Vinilmania in

Click here and listen to “My Way Home” 25

review

Polar for the Masses Polar for the Masses publish the sixth of their career, third one sung in Italian, a couple of years after #Unagiornatadimerda. Nothing hashtag this time for the band from Vicenza, which is limited to a single word for the title, Fuori, and for a playlist that, here and there, “betrays” the original punk-inspired rock but without lowering the energy level neither the quality of the songs. A vehement Il mio complice opens the album: the listener is faced with rock in its most classic shape, with loud drumming, vocals and guitars. Un’abile tattica starts very aggressively: in this case we take openly on the side of rock, almost stoner, given the hardness of the sounds. The original spirit of punk bands here melts between drum solos and a certain tolerance towards hints of virtuosity. Running comes back with

Un dono solenne, aggressive and burning, while we slow down a bit with acoustic strings of Gli anni della cuspide, that welcomes some songwriting influence of folk flavor. La fortuna di Piero (which singer Piero Pelù of Litfiba, liked so much to share it on social) instead crushes hard on the accelerator. Marinai falls in the ranks, relies on a varied drumming, to propose a song of good inspiration and able to show all the qualities of the band. Less meditation and some more stop and go in Putiferio, noisy and hearty as you would expect. Explosive and almost psychedelic final with Un cane normale, with a climax and, again, a convinced beating on drums. Lp of maturity, or of immaturity transformed in system, the new lp of Polar for the Masses testifies above all the good energy, always new, the band manages to give off. Maybe can be missing the final push to enter from the front door of Italian rock, but you have to see if they were or are these intentions of Polar for the Masses.

CLICK HERE AND LISTEN TO “Fuori”

review

Filth in my garage Songs from the lowest floor is the fourth work of Filth In My Garage, published by Argonaut Records. The lp offers a hardcore sound with many possible variations. Record starts on epic tone: the two and a half minutes of Stampede shall give an initial and instrumental route to incoming hardcore storms. Here it comes: Black and Blue, for example, elevates rhytm and noise level. The song shows remarkable melodic and lyrical potential in the final part. Devil’s Shape stretches over six minutes confirming sound choices and instincts of the band. Greenwitch moderates the pace introducing to a world dominated by guitar, with restless echoes and evocative resonances. With The Awful Path we are back to a very aggressive sound, at a moderate pace, a variety of anger distributed

along the path of the song. Red Door comes back to far west sound, while maintaining the firm reins, with screamo vocals. The Lowest Floor is notable because of the gradual aggression, supported mainly by guitars. Owl Feather offers the alternative of not screamo but still significant vocals . Good properties and good languages for Filth in My Garage, who carry out their hardcore speeches consistently, leaving also room for different nature and emotions, showing they can propose different soundscapes.

Click Here and listen to “Songs from the lowest floor”

videos of the month Roanoke Black cat

click and see Technoir

My Cruel Goro

Sides

Lost E

Tre Allegri Ragazzi Morti

Luca Di Maio La Normalità

In questa grande città

review

Flamingo Lavinia Siardi decided to call her own solo project Flamingo: an ep of four songs, just to start, with alternation of very soft moments and most warlike ideas. â&#x20AC;&#x153;When I thought about what name to give to my new musical path, I immediately thought of a flamingo. Pink, fragile, suspended between water and air, often depicted in a dark jungle. It seemed like a good metaphor of my years living between Milan and Norway, those in which I wrote the ep songs. Chances is the first track of the ep, providing a soft entrance to the work, essential in features, although after the soft opening notes of the piece, held together by the voice of Lavinia, it shows traits more determined. Goodnight, far away takes up the argument on soft issues, which this time remain constant from beginning to end of the

song. A simple route but not without harshness. Bergen refers to the Norwegian town where Lavinia lived: folk roots for a sound and lively song, in which the vocal qualities of singer emerge in full. It closes with Animals, a duet with An Harbor (Federico Pagani): chiaroscuro and contrast are center of the workpiece, which is somehow threatening. Excellent starting for Flamingo/Lavinia, able to invent a coherent and well-built world, in terms of sounds, singing and lyrics. Skills are all there.

Click Here and listen to â&#x20AC;&#x153;Flamingoâ&#x20AC;?

italian bands in europe ckéennes de Belfort July 23 - Zaragoza (SPAIN) - Lagata Reggae festival July 29 - Sélestat (FRANCE) - Summer Vibration Reggae festival August 6 - Olargues (FRANCE) Festibaloche August 7 - Bordeaux (FRANCE) Reggae Sun Ska Mellow Mood

Verdena

May 1 - Centuripe (EN) - first of may festival

May 12, Barcelona - Razzmataz Sala 3

June 4 - México D.F. (MEXICO) - Reggae Live Festival

May 14, Paris - La Bellevilloise May 18, Köln - Blue Shell

June 5 - Bogotà (COLOMBIA) - Jamming Festival

May 19, London - The Garage London

June 11 - Santiago (CHILE) - Siempre Vivo Reggae

May 21, München - Orangehouse

June 19 - Boonville, CA (USA) - Sierra Nevada World Music Festival

May 25, Frankfurt - DAS BETT

June 29 - Rouen (FRANCE) - Rouen Reggae Town

May 26, Berlin - Bi Nuu May 27, Hamburg - Nochtspeicher

July 2 - Belfort (FRANCE) - Les Euro-

reviews interviews