Traks Magazine #1
TraKs Magazine: everything about the new independent Italian music: interviews, reviews, news and a lot of free music!
TraKs Magazine: everything about the new independent Italian music: interviews, reviews, news and a lot of free music!
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interview<br />
pioneer of Italian ragamuffin<br />
Papa Ricky. With producer<br />
and bassist Ezra Alessio “Alessiomanna”<br />
Argenteri (both<br />
already in the ranks of Casino<br />
Royale) she is then landed to<br />
a solo career with the albums<br />
Shape of Fear and Bravery<br />
(2009) and One Is A Crowd<br />
(2013).<br />
What differentiates the work in<br />
"Lacework" from your earlier<br />
records?<br />
Besides the fact that "Lacework"<br />
is the first of my disks<br />
that is born from a piano, in<br />
this third album has seen the<br />
work only of Ezra and me,<br />
excluding the mastering of the<br />
tracks for which we have entrusted<br />
to Joseph Ielasi.<br />
You chose to use for the first<br />
time the piano. Can you<br />
explain why?<br />
The piano was actually used to<br />
compose, with the intention<br />
to rearrange everything later<br />
with synthesizers and machines,<br />
but in some parts it sounded<br />
so good that we decided<br />
to keep it. There was no premeditation<br />
in fact.<br />
You wrote lyrics in Thailand,<br />
Brixton and Bologna: what did<br />
you found in those locations?<br />
In Koh Tao I found the quiet and<br />
time to think, meditate, read. Brixton,<br />
and London in general, have<br />
certainly enriched my English<br />
vocabulary and Bologna finally gave<br />
me what gives me every day, that is<br />
the ability to receive many stimulations<br />
that come from suffering of<br />
mine or my friends’. In short, my<br />
town is the primary source of the<br />
stories that are mentioned in the<br />
songs of the disc.<br />
How did you write "King of Fools"?<br />
King of Fools comes from the observation<br />
of some people close to me,<br />
alas, unable to live in the present and<br />
see the beauty in things. They are<br />
looking at the earth from a distant<br />
island unattainable in the sea.<br />
Can you tell the main instruments<br />
you used?<br />
Quite simply my instrument is the<br />
voice, but I imagine this is not the<br />
answer you need, then I will tell you<br />
that after writing the frames of the<br />
songs on the piano, an old<br />
grinding wheel of the early '900<br />
played amiably by Ezra, the whole<br />
thing was rearranged in an electronic<br />
key. For rhythms Ezra used an<br />
old Akai sampler and a synth for the<br />
Teenage Engineering OP-1 and a<br />
Kawai sx 240, also working a lot on<br />
the effects to try to make sounds deeper<br />
and dilated.<br />
LACEWORK<br />
THE REVIEW<br />
The first track is Billie, and immediately<br />
it presents the new sound of this<br />
record: the piano. The song has a high<br />
pace and a catchy good harmony. Richer<br />
in effects but also in some ways more minimalist<br />
Pure Rapture, with odd beat and<br />
some new wave impressions. King of Fools<br />
softens the tone, although a mock organ<br />
gives to listeners a bit of concern. The<br />
Abacist, strong and dark, has a step once<br />
again underlined by the piano. Wall of<br />
Mist pursues the road of heavy percussion.<br />
Sensual ethnic moves characterize the following<br />
Wide Blue Yonder, giving feelings<br />
that may call into question Massive Attack<br />
or smooth pop music of 80s. Anthemusa<br />
arises quite differently from the rest of the<br />
record, with the voice of Suz that stands<br />
statuesque right from the start. Dramatic<br />
piano lines shore the notes of Lethe, where<br />
is apparent a certain amount of resentment.<br />
Testing of Gold also sounds very<br />
dark, as if towards the end of the album<br />
the lights tends to fade, and negative feelings<br />
got the upper hand. Neither the mood<br />
improves with Still Water, which again<br />
hinges on percussion and combines the<br />
contrasts. There is a consistent rhythmic<br />
speech innervating all the pieces of Lacework<br />
and building the structure on which<br />
the voice of Suz now lies, now stands.<br />
A hard and polished elegance that does<br />
confirm the good that it was already known<br />
about the singer from Bologna.<br />
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