A short description of every single track…
E vorrei… (And I’d like…)
If, one day, I’ll be able to produce a video for this track, I’d like to represent what a bird can see during its migration flight. The basic musical idea consists of a progressive development of secondary themes around a main one. It could be considered a good example of my ‘musical objects’ theory. Echoes of Tangerine Dream / Philip Glass ‘electronic raga’. Lyrics and vocals remind, in a way, to Franco Battiato.
La luce che illumina i sogni (The light illuminating dreams)
It’s my favourite track. An old ‘musical object’, written in the ‘80s and used in a song of the second Arcansiel Album (Your only treasure, from Stillsearching, 1990) with unsatisfactory results, is revised and developed widely. I just tried to ‘rebuild’ that old idea and let it sound as it had to sound. Than I added some symphonic and some psychedelic developments. Here and there you can feel the influence of J.S.Bach (Matthaus-Passion, for instance) or some Floydian echo.
Punti indefiniti (Undefined points)
This track had a complex genesis. Initially I was interested in developing a sort of counterpoint based on an interesting usage of seventh chords. Anyway, its initial dress was really not so good. It sounded colorless and a little boring. So I decided to change the arrangement completely and introduce a ‘heavy-like’ Sratocaster. I hope the final result is good. Now I listen to this track with pleasure.
L’aria che respiri (The air you breathe)
This is surely the most ‘classic progressive’ track of the album. It recalls, here and there, the musical atmospheres of the firste two Arcansiel albums. Actually I like, in particular, the central instrumental part. A very simple melody with a tonal change in the middle. Arrangements and sounds look back to ‘70s (quite a lot of analog electronics…).
Abbracciandoti (Embracing you)
The sampled B3 riff is central. I like very much the sound of Hammond organ and sometimes I filter it in a multi-tap echo effect. This was a combination I used in the past with Arcansiel, in Four Daisies (1988) an old Binson plate rev/echo of the end of ‘50s was heavily used. The global atmosphere suggest a feeling of ‘latent anguish’, broken in the end with a final ‘easy-listening’ organ riff sounding a little ‘provocative’.
Questa luna (This moon)
The basic idea was to write down a sort of contemporary ‘nocturne’. In this track too I like to use seventh chords to create a ‘floating’ atmosphere. I worked hard on the echoes. A flute melody reminds some ‘Ennio Morricone – like’ solutions.
Nell’infinito cielo (In the infinite sky)
It’s surely the most atypical and incoherent track of the album. The basic rhythmical solution is what I call ‘1967-like’ (I really don’t know why, but a lot of unforgettable songs written that year had that particular 12/8 rhythm, such as most of Sgt. Pepper’s…). The tune is, for once, sharp. I had a good time recording a lot of vocal parts.
Ritorna il sole (The sun is back)
I placed it in the end of the album but, as a matter of facts, it’s the first track I completed, about three years ago. I wasn’t very expert in using virtual studio technology and, here and there, it can be heard. Lyrics are important and , as I told before, derive inspiration from crepuscular poetry. Sometimes it recalls me atmospheres I heard in Genesis’ Trespass, one of the albums I loved much in my youth.