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Track list: 1. Not Me: Non Esistono (Senza Valore #1) 3:31 2. NichelOdeon: How Hard Tune! La canzone dei soli (Senza Valore #2) 2:40 3. This Order: Variations on The Jargon King (Senza Valore #3) 5:23 4. NichelOdeon: Il Barbiere degli Occhi (Senza Valore #4) 7:38 5. Not Me: Con Dedica (Senza Valore #5) 2:57 6. Not Me: Senza Ritorno (Senza Valore #6) 3:21 7. NichelOdeon: La Scatola (Senza Valore #7) 6:51 8. NichelOdeon: L'ultima Sigaretta - Fantasmi ad Argun (Senza Valore #8) 5:23 9. NichelOdeon: Idiota - Autoritratto (Tadzio's Death - Senza Valore #9) 2:43 10. This Order & Coucou Selavy: Ho Gettato mio Figlio da una Rupe perche non Somigliava a Fabrizio Corona Pt. I (Senza Valore #10) 5:08 11. This Order & Coucou Selavy: Ho Gettato mio Figlio da una Rupe perche non Somigliava a Fabrizio Corona Pt. II (Senza Valore #10) 2:31 12. This Order & Coucou Selavy: Ho Gettato mio Figlio da una Rupe perche non Somigliava a Fabrizio Corona Pt. III (Senza Valore #10) 4:33 13. Not Me: Sabbia Scura (Senza Valore #11) 4:13 14. Not Me: Del Mondo gli Occhi - New Moses (Senza Valore #12) 1:05 15. InSonar: Nyama - Gettarsi Oltre (Senza Valore #13) 10:12 16. NichelOdeon: La Montagna e il Trono (Senza Valore #14) 5:19 17. Not Me: Out Let - Viae di (s)PHjga (Senza Valore #15) 3:37 LINEUP: Claudio Milano - vocals, diamonica, piano, percussion, synths, field recordings, electronics with: Paolo Siconolfi - electronics, field recordings Erica Scherl - violin Evaristo Casonato - oboe, flutes, sax, English horn Paolo Tofani Krsna Prema - IPad Vincenzo Zitello - Theremin Moog Laura Catrani - vocals Coucou Selavy - voice Dalila Kayros - vocals, field recordings Cinzia La Fauci - voice Stefano Luigi Mangia - vocals Massimo Silverio - vocals, cello, guitars Paola Tagliaferro - voice, zither Paola Tozzi - vocals Vittorio Nistri - synths, electronics, guitars Stefano Giannotti - synths, piano, drums, percussion, harmonium Gianni Lenoci - piano Camillo Pace - bass Francesca Badalini - piano Andrea Grumelli - bass Andrea Quattrini - drums, percussion, electronics Stefano Ferrian - guitars Raoul Moretti - harp Andrea Murada - percussion Fabio Amurri - piano Pierpaolo Spirangle Caputo - ghironda Mimmo Frioli - drums, percussion Giovanni D'Elia - bass Danilo Camassa - guitars Mauro Corvaglia - guitars Domenico Liuzzi - sax, bassoon Max Pieretti - synth Fulvio Manganini - stick Alessandro Palma - drums Ulisse Tonon - accordions, piano Sisto Palombella - accordion Claudio Pirro - guitars Marco Lucchi - Mellotron Luca Olivieri - glockenspiel Lorenzo Sempio: guitars, noises, effects Jody Bortoluzzi - synth Ivano Nardi - drums, percussion Franco Poggiali - synth Daniele Onori - guitars
Prolusion. Italian artist Claudio Milano has been active with many different projects over the years, with Nichelodeon probably being the most productive of these as far as actual physical releases are concerned. This year he is out with an album that collects new material from a handful of his various projects. This CD is named "Incidenti-Lo Schianto", and was released through the label Snowdonia in the fall of 2021.
Analysis. For those who haven't encountered the various creations Milano is a part of on previous occasions, the easiest manner in which to summarize them is that they by and large reside in the most avant parts of the progressive rock universe. The place where most conventions have broken down, where genre orientation is as unimportant as structure, and where coherence to ideas and concepts are much more important than form and predictable patterns. The place in this particular universe where the force of Law has retreated and allowed the force of Chaos to take over if not in full then at least for the most part. Milano's main contribution besides creating material is his voice. His voice is his instrument and his weapon, and he applies it with a theatrical glee to explore and expand upon odd and unusual places and placements, using scales and movements that often manages to contain, constrain as well as walk outside of both the predictable and the unpredictable. He never uses his voice in a manner that isn't expressive, and more often than not the vocals are applied with heavy avant sensibilities and a fair bit of the dramatic and the theatrical to boot. This is very much the case on this production as well. I understand that the topic of anger is an ongoing theme for this production, which of course is a rich feeding ground when one has the desire to use a voice with a broad range in a creative manner. The musical backing here is a bit all over the place, but just about always containing the same level of expressive and avant features that the vocals supplied by Milano adds to the totality here. Various forms of folk music, chamber music and classical music makes up greater parts of this album, with noise music and also a rather avant variety of metal makes its way onto this production. The end result is chaotic and demanding, and that the music is highly challenging shouldn't be a surprise to anyone that has read so far. It is a rewarding experience too, probably a bit more for those who know and master the Italian language, but those with a fancy for strong and distinct vocalists should get a lot out of this album as well I imagine.
Conclusion. As with most productions that involve the talents of Claudio Milano, this isn't music that will have a broad appeal. This is niche music made for a niche audience, and I suspect that the key audience for this album will be those that find that most of the music described in an avant progressive rock terminology these days just is to easy and predictable, and have a desire to get to grips with something more demanding, more challenging and ultimately also more rewarding. Having a special interest for the use of vocals in an avant setting is probably helpful as well. Otherwise I'd say that those with an interest in the more avant aspects of chamber music might also want to take note of this production, as there should be plenty for that audience to enjoy here as well.
Progmessor: December 2021
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