TRACK LIST:
1. Nel Mezzo Del Cammin 2:48
2. Per Lo Tuo Ben Penso 1:40
3. Per Me Si Va Nella Citta Dolente 2:06
4. Ed Ecco Verso Noi Venir Per Nave 2:00
5. L’Angoscia Delle Genti Che Sono Quaggiu Nel Viso Mi Dipigne 4:31
6. Stavvi Minosse 0:35
7. Amor Che a Nullo Amato Amar Perdona 6:15
8. Stige 3:44
9. La Citta di Dite 2:30
10. Qui Son Gli Eresiarchi 4:55
11. Pier Della Vigna 3:13
12. I Dilapidatori 1:28
13. I Violenti Contro Dio 0:55
14. La Prima Bolgia 0:51
15. I Ruffiani 1:00
16. La Terza Bolgia 1:35
17. I Barattieri 3:37
18. Gli Ipocriti 3:20
19. I Ladri, Tra Orribili Serpi 2:20
20. Vedi Come Storpiato e Maometto 1:58
21. I Falsari, Fatti Lebbrosi, Passioidropici 1:30
22. I Giganti 0:44
23. I Traditori, Immersi Nello Stagno Gelato di Cocito 2:44
24. Il Conte Ugolino 4:20
25. Lucifero 2:52
26. Il Cammino Sotterraneo 3:00
LINE UP :
Francesca Badalini - piano, syntheszer, zither
Andrea Grumelli - bass, electronics, soundscapes
Luca Casiraghi - drums, percussion
Claudio Milano - vocals
Prolusion.
Italian trio I Sincopatici have specialized themselves in creating and performing music that adds life and tension to the experience of watching old silent movies. They perform their material at events described as Cineconcerto, described as when "the evocative power of the images of silent film masterpieces is combined with the strong suggestion created by music ranging from improvisation to rock and classical music.". The album "(L'Inferno 1911 O.S.T.)" captures one of these experiences, with music made for the 1911 silent film 'L'Inferno' and the performance made in connection to the 700 year celebration of the death of poet Dante Alighieri. At least if I have understood the circumstances more or less correctly.
Analysis.
The three artists that make up the line-up of I Sincopatici have been joined by Italian vocalist and artist Claudio Milano for this venture, and my understanding is that this is a joint venture between these in regards to writing as well as the performance itself. And while I do not know all that much about the type of material made by I Sincopatici on other occasions, what I can say is that Milano comes across as perhaps a bit less avantgarde and experimental when cooperating with this creative threesome. Not that the landscapes explored on this occasion are conventional by any means, but perhaps a little bit more accessible might be an appropriate description.
As these compositions function as a soundtrack just as much as creative works in their own right we do get quite a bit of variety though, perhaps more so than when dealing with a more conventional performance. These are compositions made to illustrate and emphasize the mood and atmosphere of a silent movie after all, and thus needs to be more widespread in nature in order to capture this in a good way. But I'd say that the influx from classical music may arguably be the most profound, with folk and world music following next and with experimental and avantgarde landscapes as well as jazz being other impulses of note throughout this performance.
Elegant and wandering piano runs is a mainstay throughout, and we get quite a few songs and passages where the use of an acoustic plucked string instrument is a central feature too. Careful as well as more elaborate percussion details are central aspects all along, and various forms of keyboards, electronic effects and fluctuating drones are other vital parts of the totality here. With many different combinations of these elements being present, and more often than not with the arrangements changing and switching things around quite a bit in each of the individual parts of the performance. At one point I believe I counted a good handful of different modes and moods being present in a 2 minute long part of this performance, and while this may be a bit of an exception for the performance as a whole it is a bit of an indication still I believe.
Milano's use of his voice, vocals and vocal range come to their right in such varied landscapes too. From ominous vocal effects to tightly controlled, compelling deliveries of crystal clear singing. From distorted spoken like effects to borderline effect growls and through to storyteller mode and on to high-pitched mood effects, I rather suspect that he was able to make good use of all aspects of his voice talents and vocal range for this event. A good vocalist on a good day will obviously always be able to elevate the total impact of a performance, and for me at least this album documents this in a rather impressive manner.
From delicate and borderline ethereal landscapes to constructions that emphasize the theatrical and dramatic possibilities one can make use of with the instrumentation and performers available, this performance is quite an experience, and one that certainly merits the loud applause that we get at the very end here. I suspect that those who were parts of the audience for this Cineconcerto will have memories from this event that will be recalled for the rest of their lives here on planet Earth.
Conclusion.
While I throw around a fair amount of superlatives in my analysis, and I do make use of the word accessible too, this is a creation that is accessible in the context of being experimental material with at least a connection to an avantgarde approach and execution of music. The general style, direction and genre of music here is a bit on the undefinable part of the spectrum, and the material here is of a generally challenging nature. On the accessible part of the challenging spectrum, but still challenging. But for those who enjoy such ventures, and who find the notion of music that reside somewhere in between the borders of classical music, electronic music, world music, jazz and rock to be generally interesting, this is a solid example of such a production that contains numerous moments of musical magic and bliss.
Progmessor: July 2024
The Rating Room
