Detailed Reviews [Claudio Milano's End Friends (La Bobina di Tesla) - 2023 - "ManifestAzioni live 2011-2023"]

Prolusion. Italian composer and vocalist Claudio Milano has been a part of a number of different artistic ventures over the last couple of decades, in addition to releasing solo albums in between his various projects and collaborations. This year he is out with a double live album that collects a multitude of performances from many different constellations and performances that cover the years from 2011 to 2023. The album is called "Manifestazioni Live 2011-2023", and was released through Italian label Music Force.

Analysis. Defining the style of an album that covers a multitude of different constellations is just about impossible, at least in this case, as the range and width of the material can be starkly different at times on this occasion. The common denominator here is that the material has a tendency to be experimental, is just about always on the unusual side of matters, and the expression avantgarde is one that is likely to be dropped on multiple occasions by just about everyone that listens to this production. It is a matter of debate on whether or not the total scope of the material here fits in under a progressive rock definition too of course, but it is undeniable that the greater part of the material here falls very safely within a progressive music definition. We do get some material that falls inside of a jazzrock tradition here, with a dramatic, expressive and avant orientation more often than not but also with sequences with a stronger groove presence, and material that might or might not be described inside of a noise rock tradition is also a part of the experience we get here. More common are compositions that revolve around classical music traditions however, from more straight forward piano and vocals runs to constellations that are closer to neo-classical and experimental classical music in form, function and execution, with several instances of songs where my impression was that keyboards or synthesizers were used to convey textures replicating the effects of a classical orchestra. More sparse creations where the harp (or an instrument played to sound like a harp) were used to support the vocals is another variation of this style of musical landscape we encounter along the way here. With occasional tie-ins to both of these forms we also get performances that make liberal use of folk music elements in different manners and with different forms of execution throughout, alongside some instances of purebred a cappella performances. The variety in form and execution is just as great as the one in style, as referenced already, with some instances of restraint and a more conventional execution are present but also performances where the expressive attitude is dominant in part or in whole, and those fond of landscapes with a more avantgarde orientation will undoubtedly find a lot to enjoy on this double album. The vocals of Claudio Milano is of course a dominant aspect throughout, and his vocals ebb and fall and soar alongside the music as well as being a presence outside of it. He will follow the instrumentation in some cases, using the same or a similar restraint in his performance as the instruments have in some of the more conventional sections and then segueing towards a full on expressive mode alongside the instruments. In other cases he may do the opposite, or take on a role and mode of delivery that is a bit on the side, especially when adding a stronger emotional impact for some moments I'd describe as featuring a big voice, as well as adding a distinct dramatic and theatrical flair on several occasions. And as one might expect he really goes to town on the a cappella numbers here, where he showcases an impressive manner of vocal acrobatics in terms of using restrained and expressive modes of delivery as well as using the full range of his voice in creative and at times rather unexpected manners. The main drawback of this album, that is similar to most other productions featuring Milano's vocal talents, is that this is expressive and adventurous music that explores landscapes with liberal amounts of challenging dimensions and with numerous details that many listeners will find to be a bit too abrasive and too expressive. Hence this is a production with more of a niche appeal. A wonderful experience for those who manage to understand the music explored, but also music that would make many of my real world friends wonder about my perception of music as well as reality if they should ever encounter this material. That being said, even among those who would not be able to understand why people listen to music of this kind, those people would still be impressed by the range, variety and execution of the vocals.

Conclusion. Claudio Milano as a solo artist, as a band member and as a part of a number of different collaborations and projects have been a steady provider of expressive, challenging and adventurous music with a solid placement inside of the avantgarde tradition for a good few years by now. This double album documents how this material comes across in a live setting in a good manner, and showcases the width, breadth and scope of the different landscapes Milano has explored over the last decade and a bit very well indeed. If you like progressive music with a distinct expressive attitude and with a tendency to have an avantgarde orientation, this is a production well worth a listen. Especially if you enjoy such endeavours with classical music references and with the vocals as a dominant aspect of the landscapes explored.

Progmessor: July 2023
The Rating Room