TRAKS MAGAZINE #9

No. 9 - JUNE 2017
Bands Edition!
SAM AND THE
BLACK SEAS
A total wall
MOMA
egosystemA
movin k
REVIEWS INTERVIEWS NEWS
www.musictraks.com

contents
4
8
12
16
18
20
22
24
26
30
Interview
sam and the
black seas
interview
A total
wall
Interview
moma
review
egosystemA
live dates
review
L’ora x
reviews
review
niamh
interview
movin k
Videos
TRAKS MAGAZINE
www.musictraks.com
Editor in Chief:
Fabio Alcini
info@musictraks.com

interview
sam and the black
seas: the importance
of the islands
Silver is the debut of Sam and the Black
Seas, an indie-folk group that recorded the
record moving between Italy and England.
Recorded by Daniele Falletta, mixed by Matteo
Sandri at the Mono studio in Milan and
mastered by Giovanni Versari at La Maestà
Studio, the record includes nine English
songs from many different colors. We interviewed
them.
Can you summarize your story so far and
explain the name of the band?
Everything was born in 2012, I had some
song written with Giovanni D’Avanzo, arranged
for guitar, cajòn and cello. After my
return from three months in Australia, where
most of Silver’s songs have been written,
I contacted Mattia and Cisco with whom I
had already played in other bands to propose
to play together, some tests and we started
to live. After a couple of recorded eps and a
good number of changes of formation, including
Andrea, we ended up playing in Sardinia,
where we met Marco who proposed to
collaborate with h is label. Apparently, the
islands mark our most important moments.
In this year and a half of collaboration with
Atomic Fat we played so much in London,
shot video material and especially recorded
our first album, Silver. The name Sam and
the Black Seas was born playing, each of us
4 5
chose a place, number and color. Initially it
was ‘Seven Black Seas’, but Thomas, founding
partner with Marco of Atomic Fat, changed it
to ‘Sam and the Black Seas’. He won him with
the votes... no, he did, in fact, have decided
so, saying that “we are not a metal band”.
You have “prepared the ground” for the
album by publishing four singles and videos
before the release: how did this “strategy”
come about?

interview
We pass the ball to our label Atomic Fat, who
has promoted the promotion of the record.
The idea was just that, preparing the ground
for publishing the album by recreating the
story of the group through some of the most
reputable songs. The aim was to give the
project a greater visibility to the project, creating
the curiosity and interest to impact on
a highly competitive London Indie scene
where it is possible to find an audience open
to the news. The four singles have in fact
produced as much promotion as possible to
look for new spaces of growth and attention,
especially among the “jobseekers”. We have
created a solid (but non-intrusive) presence
on social media and built a fan base that
can approach our music in a variety of ways,
such as streaming, downloading, or through
videos on the VEVO page.
Just the videos are the result
of a beautiful artistic
collaboration with BOTH
that has found inspiration
in our music as the ideal
soundtrack of their stories.
In the communication we
were initially supported
by a Liverpool press office
that prepared us for
this strategy, and today we
are working with Lunatik
in Italy who has brought
Silver on the radio and to
being reviewed in several
important news headlines.
The songs sounds very
varied and also very influenced
by international
songwriting, mostly folk.
What are your key points
in the genre?
We hear so many different
things, from Nick Drake to
RATM, from At the drive
to the Italian or American
songwriter, to classical
music, but also Apparat
and Bon Iver. Something
of every kind. Lately, for
example, I am rediscovering the folk music of
Anglo-Saxon countries.
How was born “The Game” song, in my opinion,
one of the best of the record?
The game was born from the guitar, in a few
days, I sent the vocal-track record to Giovanni
who, in a very short time, laid it up keeping
the sound of the “maccheroniche” words he
had received, I do not really know how he
does it. The central instrumental part, however,
was born in the car, singing the theme of
the cell and rhythm of the battery above the
guitar chords, imagining it grow as a positive
rage that goes in and is thrown out in the
final screaming chorus. Often some ideas for
record arrangements have come out listening
to guitars in the car, going or back from work
rather than returning from an evening at night,
pointing all the way in with the phone
recorder. Sometimes I listened to it and it was
a shit, I did not quite know what I had hummed,
and sometimes it came out the song.
Can you tell the main instrument you used
to play on this record?
The lp is naked and raw, there are very few
overcarvings, we have not used any tools,
effects, or particular environments, instruments
or voice except for a couple of battery
trigger in The Game and Silver, the addition
of a synth and a piano on The love we owe
and a wurlitzer piano on Agata. Instrumentation
is exactly what we use when we play live:
a Taylor and a Cort guitars, an acoustic drum
and drums of Drum Sound.
Can you describe your concerts? What will
be the next dates that will be visible to you?
In the gigs, we try to build a musical story,
especially considering the harmonies of songs
and bpm. If there is a guitar changer or a
tuning of some instrument, we insert a short
introduction to the next song, a carpet or a
drum, to give the time to make the necessary
changes. We do not like to leave holes or talk
too much between one piece and another.
Lately, we have tried a ladder of about an
hour that we really like, we will replay it from
October onwards when we begin to wrap our
newly released lp. It sounds like a good show
for Silver, which is fine.
6
7

A total wall
uncompromising sound
A Total Wall publish Delivery: the metal-djent
band from Milan comes back, three
years after last ep. That’s how they responded
to our questions.
What’s your story so far?
In 2009 we started as a duo (Umberto - guitars,
Davide - drums), we started writing the
first songs right now looking for uncompromising
sound. Coming very different, we have
tried to convey our influences into a kind of
music made of grooves, aggression, and endless
technique to itself. We released 2 EPs
totally self-produced (with David on the voice),
and then we dedicated ourselves to completing
the lineup. The sound was still under

interview
way, we
went from
7-string
guitar to
8-string
guitar.
With the
addition
of Riccardo
and
Daniele
we started
to make
the first
live and
write new
pieces.
Meanwhile
we replaced
Daniele with Gabriele and we continued our
live activity. At the same time we ended the
writing of the new material for the new album,
totally with 9 strings.
How did you work on your first full-length
disc? Have there been any differences from
the past?
Compared to the past, we have had an “evaluation”
of the longest pieces. We have been
much stricter with regard to the quality of
the final product, from the sounds to the arrangement.
For the first time we were also
entrusted to a mix and master studio (Greenriverstudio
by Tancredi Barbuscia). We went
from ideas to the pc to the real songs played
directly in the room even before deciding if
everything would end on the album so they
have a very precise idea of ​how they would
“make” the pieces. Only then did Gabriele
intervene, creating the vocal lines and giving
a further layer to the songs.
10
You have chosen to use “stable” nine-string
guitar: can you explain the choice?
We say that the band’s sound is constantly
evolving both in terms of sounds and instruments.
We wanted to see if switching to
9-string guitar we would be able to keep a
strong impact without losing definition and
without losing sound aggression. We are very
pleased with the result, now 9-string guitar
has steadily grown in our pieces and we have
no reason to go back.
How is “Evolve” born?
The idea from which Evolve emerged during
a brainstorming session in the studio we had
(which happens regularly). We have imagined
a self-replicating computer virus that, in its
spread, increases its complexity until it becomes
able to develop new invasive strategies.
In a short time, the virus network is so vast
and powerful that it can acquire self-consciousness,
evolving in all respects into an
emerging artificial intelligence that develops
exponentially reaching superhuman levels.
From there to take control of the whole planet,
the pace is short!
Can you tell the main instrument you used
to play on this record?
For guitars, they were recorded directly on
PCs, then reamping with a “true” amplifier.
It’s a process longer than the classic recordings
but you can check the final sound in the
details. For the bass sounds we have directly
used the chain of effects that Riccardo also
brings with it on stage. The rendering of the
batteries was made directly to the Greenriver
Studio, where the entries were recorded and
mounted.
Can you describe your concerts?
Unfortunately we are still in the process of
11
defining the dates that will show us the new
album live. In the meantime, we are working
to build a live show that supports our musical
ideas.
Who is or who are the Italian independent
artists that you most esteemed at this time
and why?
Lies of Nazca - Damned Spring Fragrant. We
think that today is extremely difficult to be
noticed in a kind of niche like ours, overall
quality is very high, the attention of very low
people.
Can you indicate three songs which have
influenced you particularly?
Meshuggah - Stengah
Periphery - Icarus lives
Textures - Storm Warning

interview
concerned, it was initially intended to speak
of anger that is sometimes referred to some
social categories like immigrants, gays, or
other minorities. We wanted to talk about
the feeling of hateful and unjustifiable hatred
that sometimes arises and puts people against
other people in a perverse spiral. In the end,
because of the length of the first verse we only
talk about immigrants, but the conclusion
remained the same: the memory of the blood
tie that unites us and the attempt to understand
the reasons for the other.
The packaging of cd is articulated, including
a kind of goo playing in the inner booklet
... Who has invented everything?
Perhaps this was really the toughest part of
the project: packaging was a real teamwork, a
result of hours of comparison, where everyone
put their own idea, then inserted in the
final result except the cover, idea of ​Michela,
bass player, logo and small graphic help for
the inner booklet.
Can you describe your concerts?
Our concerts want to be as engaging and
participatory as possible. We try to create an
original show where everything is in the right
place and we can convey the meanings of the
songs, with some theatrical intervention from
MoMa
12
MoMa formed in Faenza (Ravenna) five years
ago. After publishing their first, acoustic,
record, Linked to the stars in 2013, they are
now pubilishing A permanent state of transition,
which instead uses more than extensive
electrical feelings. We asked a few questions
to the band.
“A permanent state of transition” is a turning
point for more “electrical” ideas. Can
you tell how this change was born?
From the first lp, there was the need to
express a change, to something more enveloping,
aggressive, and out of the patterns. In
transition... permanent. We also add that the
songs have also been developed according
to the actual availability of instrumentation.
Now we’ve bought a mini synth and a drum
machine, we’ll see!
What were the biggest difficulties you encountered
in making your record, if any?
Recording was a long track of awareness of
songs, born and transformed in the reharsal
room, sometimes changed radically by studio
work. Probably this awareness was the toughest
step, the lp has taken shape by itself! We
do not deny that, being completely self-produced,
some economic difficulties on the way
have arisen...
How is it born “Until”?
From a musical point of view, it was born
from a guitar riff, on which the structure of
the song was built. As far as the lyrics are
13
http://www.facebook.com/momaband

our frontman. As for the concerts, we have
already played in some of Romagna’s localities,
and we count on spreading our work as
much as possible. In our repertoire, about two
hours, there are no covers.
Who is or who are the Italian independent
artists that you most esteemed at this time?
Livia Ferri and Brunori Sas.
MoMa track by track
The album opens with the ballad Tasteful,
with rock-blues influences and sentimental
and extravagant streets to go. More direct
Running Free, which aligns some nostalgia
for the 80s rock with good bass lines. Dimmin
‘Night makes a precise choice for a romantic
and classic ballad. We start again with
the 21st Century Battle Hymn, which makes
noise especially with drumming, accentuating
the rather daring danced pace with
the guitars. Until brings tribal and ancestral
rhythms, with references to American Indians
(or similar), then slamming into an aggressive
rock. Pain in Beauty also carries a good
amount of rancor and baldness, reinforced by
guitar interventions. D’Ya Turn Back insists
on rocky tones, but with some inserts of different
nature, with paced changes and curves
that widen, leaving room for voice. The bass,
along with a series of keywords related to social
networks world,
opens Your Face is
like a Tweet. It continues
with Rock
& Bacon, which
brings the climate
to more serious and
almost solemn tone.
The record ends
with Over, which
uses the voice of
Marica Ferri to give
a more intimate and
different tone to the
final ballad. Good
work for MoMa that
in the new lp show
all of their varied
souls.
14 15

eview
the sounds are harsh and dirty, but there is a
structure and almost a vocation for melodic
rock and there is room for some clearly vintage
nostalgia. And after a roaring and storming
Realize, here comes Get Lost! , where
drumming takes fire, but the sensation is
countered by curious electronic sounds. Post
grunge clues suddenly splashes out of You
and Me, leaving plenty of space to softness in
rock sauce. Much worse False Friends, where
again drumming becomes noisy and guitars
sounds acid. In contrast, Forlorn starts
gently, even with the piano, building his own
anger step by step and feeding it again with
a particularly robust drums. Energy is not
exhausted and is confirmed by Never Again,
another fast electric ride with light instincts.
Clear the intentions of No Remorse, fluid and
stormy, at the end of the record. A powerful,
but also melodic album, the new one of the
Egosystema, which confirmed with the second
record how good they had already were
in the time of the debut.
egosystema
Change Reality is the second album of
Egosystema. The alternative metal combo
publishes for Ghost Label Record the new
album of eleven tracks, essentially a concept
based on a painful loving triangle. The album
is released online by Crashsound, digital by
Believe and in physical format by CODE7
(UK-IRL). Change Reality follows the debut
of the band in 2014 with the full lenght “Inside
The Empty”. After Change Reality, the
purely introductory title track, the lp begins
to hit seriously with Innocence betrayed.
The lines of contemporary metal are confused
with melodic attitudes, even though there are
several deflagrations of power. Limits decides
to highlight the most friendly side of the
band, but also the darker one, with the voice
that takes the lead at first, but with significant
interventions of keyboards and guitars.
Liar also points out a susbtantial duality:
16 17

tour
his clancyness
european tour
HIS CLANCYNESS
122 giugno: Lipsia, Germania - Ilses Erika
23 giugno: Dortmund, Germania - Etepetete
festival
24 giugno: Copenhagen, Danimarca - Amager
Bio w/ SPOON
25 giugno: Magdeburgo, Germania - Cleaning
The Cobra Pit
27 giugno: Magonza, Germania - Schön
Schön
28 giugno: Monaco, Germania - Rumours
03 luglio: Colonia, Germania - Gloria w/
SPOON
05 luglio: Parigi, Francia - La Maroquinerie
w/ SPOON
07 luglio: Soliera (MO), Italia - Arti Vive festival
w/ Kevin Morby
08 luglio: Pegnitz, Germania - Waldstock festival
19 luglio: Pesaro, Italia - Dalla Cira
21 luglio: Benevento, Italia - Soundproof festival
22 luglio: Brescia, Italia - Musical Zoo festival
28 luglio: Carbonia, Italia - Summer Is Mine
festival
29 luglio: Porto Ferro (SS), Italia - Baretto
02 agosto: S. Teresa di Gallura (SS), Italia -
Bramble’s Art
08 settembre: Mantova, Italia - Festival della
Letteratura
18

eview
a little everywhere along the way. Surprising
is the cover of the famous Non è Francesca,
timeless hit by Lucio Battisti who here dresses
in darkness and revenge. Io ci sarò lowers the
lights suddenly and stands by melodious hints
to assume a narrative and nostalgic attitude.
We come back to very robust sounds with
Quello che i miei occhi non vedono. Instead
Sweet Home Roma Est looks like a moving
photograph, with an interesting bass loop.
With Che sarà di noi we return to a soft attitude
and talk of nostalgia of a past probably
not too far. The song starts with very melodic
feelings on the first, but then explodes in particularly
loud screams. The ending is a kind
of quotation from Rino Gaetano but in an
overwhelming and obscure way. Black and
long resonances, and even a little new wave,
penetrate Daimyo, which alternates permeable
phases to other toughest layers. Here’s
X, more straightforward though willing to
return to some hip hop influence. The closing,
Sottovoce, holds true to the title, with a
piece full of melody accompanied by acoustic
guitar. An album with many souls, the one
of L’Ora X, which focuses on the various influences
and achieves a good result.
l’ora x
The Mangano brothers, already in Yattafunk,
under the name of L’Ora X, publish Sottovoce.
Alternative rock/metal sung in Italian,
powerful guitars and a genre inspired by the
great names of the nu metal of the 90’s such
as Korn, Limp Bizkit, Nonpoint, Adema and
Deftones, without forgetting the influences of
Italian band of the likes of Timoria and Linea
77. It starts with Animae, which has metal
sounds with goth influences and a sung / rap
in Italian that is not respectful of the bounda-
ries between the genres and sometimes melodic,
sometimes in a tight, sometimes scathing,
metal howl. Lebbracadabra, as well as with
words, plays with the power of guitars, in a
song that is powerful and electric to the highest
degree. Gaius Baltar tries to hold back
the instincts, but the explosions are coming
20 21

neuromant
“cyberbirds”
reviews
cess and in its being enlivened by almost
angelic singings. It closes with Lullabye,
last piece rich in melody and sweetness.
The Neuromant stand a kind of show of lights
and shadows, showing a certain awareness
of their means, considering that it is
a debut. The melodic declination of some
pieces highlights the band’s pop talent,
however compensated by more complex
structures in other songs of the album.
syncage
“unlike here”
New Syncage record is called Unlike here.
Consolidated in Vicenza around 2008, the
quartet stabilized a few years later, first
publishing the single Hellound and then
the ep Italiota, with an idea of ​coexistence
between various influences ranging
from fusion to art-rock, to 70’s symphonic
rock. Inevitably landed at Prosdocimi
Recording Studios, the realm of analogue
recording under the auspices of producer
Mike 3rd (and Pat Mastelotto, Tony Levin,
Benny Greb, ExKGB
etc.) and mastering of
Ronan Chris Murphy
(King Crimson, Robert
Fripp, Steve Morse ).
School is the first
track, carrying a
boundary to prog-metal
sound in math, between the ancient
decades, especially the 70s, and much
more contemporary feelings. Violin and
Cyberbirds is the debut album of the
very young Umbrian quartet Neuromant.
A work of balance between alternatives,
post-rock and psychedelia, strongly inspired
by the title from the Cyberpunk culture.
The opening is Trees or Teeth, seemingly
quiet passage in dark woods and
loads of new wave suggestions. Penguin’s
parade starts from
what appears to be
a chime, but then
introduces voluminous
electronic
percussions, and
the pitch becomes
a cadence step and
a rather theatrical
song. Placises the waves of Dreaming
water, which has melodic and almost pop
profiles. Much more nervous Emptiness:
in its three minutes just abundant adopts
accelerated and frantic ways. Cold wind
fat world, on the other hand, welcomes
psychedelic inspirations to a tune of variable
structures and exposed to winds.
Leaving soul resumes the melodic level
with a particularly intense singing and an
elongated, almost lyrical tail. Theatricality
is confirmed in a song like All the crazy
voices, led by an interesting play of bass
and influenced by substantially progressive
ideas. The short I feel provides a piano
pad before new adventures. So here’s Cyberbirds,
the title track, gentle in its propercussion
open Uniform, which has Mediterranean
footprints, enriched by some
vocal play. Still Unaware faces the side of
the progressive melodic, with vast use of
keyboards and vocals rather “free”. Acoustic
guitar and drumming are the starting
point for Skyline Shift, then backed up
by a rather free bass and keyboards, and
finally by an electric tail. A certain sweetness
characterizes Stones can not handle
gravity, though innervated by percussion
and rising rhythms. Redirect starts with
a clearly rocky mood, almost garage, but
we’re still talking about a song of almost
8 minutes: in fact, many variables and instruments
intervene, like the early roaring
of the electric guitar. And trajectories become
unpredictable. Bearing the Color is
slightly more straightforward, but there is
space for fantasy, especially by the rhythm
section. The long Edelweiss, suite of more
than 14 minutes and a half, and the heart
of the lp, starting from a play and then
building on electronic feelings that are
compared with analogue instruments. The
structure of the tune is varied and crosses
various phases dominated mostly by a melodic
character. Hunger Atones goes back
to boundaries ranging from prog to math,
following guitar tracks and bass on alternatives
that can make think to King Crimson
as well as jazz formations. It closes
with the title track, the other suite Unlike
Here, which announces itself in quite awe.
Good-quality record, the one of the Syncage,
which is banging between the decades
and letting go of the favorite influences.
The result is a multi-faceted, full and rich
record.
inarmonics
“a thing of beauty”
It’s called A Thing Of Beauty the Inarmonics
debut album, recorded entirely in direct
contact. The Inarmonics love to experiment
and not just a single musical genre.
The first track is Disma, an alternating
path between lightening, melodic phases
and rhythmic accelerations that blends
sensations of a different nature. And if
the opening piece reveals progressive
influences, for the title track A Thing of
Beauty, there is a
need for some black
connection, with the
bottom groove in the
center of the discourse.
In the park it gets
more threatening,
with a restless guitar
loop. Funkarabian
Scat is triggered on slopes that provide
acid accelerations, stretched to experimental
breaks. History is dressed in rock, with
very rhythmic beats. The instrumental
Farabutto sees the guitar that takes the
center of the scene, with an acid and prolonged
solo, leaving room to the bass, in
a sort of jazz jam session session. You go
back to melodic prog speech with Gone to
Fast, before the rather “alcoholic” funk of
More Wine closes the album. Lp of some
surprising ways, that of Inarmonics. The
instrumental abilities blend into a rather
“free” creativity, to get a rich sound album
and articulated structures without getting
lost in too abstruses loops.
22 23

eview
ting the fun in FUNreal opens the record at
very high rhythms. There are echoes of nu
metal and goth in the song, mixed and agitated
by powerful sonorities. The WOW effect
prolongs in the same mood, with similar
sounds but slightly more controlled rhythms.
The power of this song is freely expressed
through the guitars that vanish before finding
free openings. It recovers in terms of aggressiveness
with Eat.Pray.Kill, which jumps and
knocks in rather dangling. Mrs. Fletcher’s
relatives plays dirt and sneak into electronic
grooves crawling until they get out of wedges.
After an electro intro, here’s My Antichrist
Anaemia, another bloody and virulent tune.
You get into not very quiet heads with The
voices made me do it, which unloads all the
energy you can from the electric side. The
following song is Paracetamolotov, an interesting
mix that sees drumming going on
from the previous tune, but raising even more
volumes and rhythms. Corax closes with Maniamh
A Poe-style raven and sketches of blood on
the cover, Corax is the new Niamh album.
Newborn band but with individual experience
behind, Niamh can count on Mateja, part
of the rhythmic section of the Indigesti, a historic
Italian punk band, with which he plays
throughout Italy and beyond, while Bellix has
only been part of it in the past. Mike is also a
singer of Arcadia, for years one of the band’s
richest lives on the peninsula (they played
with Iron Maiden, Megadeth, Six Feet Under,
Mnemic and others). Tommy, however,
was part of the Arcadia, in the past growing
up with them step by step. After a few pangs
(and we are already in 2016), the four Vercelli
guys start to play, debuting live and recording
the first pieces looking for songs of strong
and energetic impact. The album is made up
of eight metal tracks of different colors. Put-
niac, surprising cover
taken from no less than
the Flashdance soundtrack,
with Michael
Sembello transfigured
in a metal (but not
exaggerated) dance. An
lp that is claustrophobic
but also enjoyable, the
Niamh one. The genre
is doubtful, in the
sense that many metal
influences and even
something out of the
metal are felt. However,
the result is robust and
remarkable.
24
25

interview
Movin k
A progressive rock influenced band, Movin
K publish Watin 4 the Dawn: we asked some
questions to the five-piece combo.
Can you tell the main stages of the band before
“Waitin 4 the Dawn”?
Movin’ K project was created in 2006 by the
main members of BLACK RIDERS, a progband
that spurred a strong interest in Italian
underground prog scene during the period
1996-2002; the work of Black Riders it’s been
honoured by several awards dedicated to
upcoming bands and in 1999 the band was
selected to perform as support band for POR-
CUPINE TREE at Prog Fest 1999 in Vigevano
(Italy). From 2007 Movin’ K started touring
around Italy and joining several music contests
with great success (Music Village 2008,
Tour Music Fest 2008, Stage Alive Contests
2010 (winners), Strane Officine 2012 (finalist),
Emergenza Festival 2012 (finalist), Prato
Music Festival 2015 (winners)); furthermore
the band it’s been selected to join some important
festivals such as “Musica per i Borghi”
in 2010, “Yes Weekend Festival” in 2012
and “Blue Street Festival” in 2016. At the end
of August 2010 the band played live at the
“Maloemelo” and at “Waterhole” in Amsterdam
for their first performances in Europe.
In 2016 Movin’ K won their regional selections
to join “Arezzo Wave Love Festival”,
the most important event in Italy dedicated
to upcoming bands; in summer 2017 they
have reached the national finals of “Road to
Pistoia Blues” contest. Before the beginning of
“Waitin’ 4 the Dawn” recording sessions, Movin’
K realized 2 albums (“Along the Way of
the Great Dolphin” in 2008 and
“Until your Breath is over”
in 2012) and in 2014 the EP
“Park your Butt” that was a
little preview of the new album.
The music pathway of the
band is part of the artistic career
of its creative engine Francesco
K Epiro, author, arranger, producer,
composer and performer who
worked with several artists such as
Naif Herin, Ronnie Jones, Horndogz, Davide
Dugros, Stefano Frison, Davide DaG Gullotto,
Thierry Zins, Simona Cancian, Mikol Frachey,
Kiol. Epiro is also a composer of soundtracks,
music for piano solo and new age
music projects.
The front-woman of Movin’ K, Maria Rita
Briganti, is a talented esteemed singer, vocal
coach at “Arcademia”
academy in
Omegna (VB) and
vocal coach at “Lorien
Studio” Music
School in Milan;
she also is the gospel
choir director
of “Black Inside”
ensemble. Maria
Rita is a student of
Maestro ALBERT
HERA and in 2015
debuts as singer,
dancer and actress
in the musical “Madame La Gimp”, directed
by Fabrizio Rizzolo. Francesco K Epiro and
Maria Rita Briganti in 2015 formed the “MK
Acoustic Duo”, an acoustic project
with which they present the Movin’
K repertory re-arranged for
vox and piano solo, together with
some selected covers, in several
special live performances.
With what premise and feelings
did you approached
the work on “Waitin 4 the
Dawn”?
“Waitin’ 4 the Dawn” was
born with the intent of pouring into
the work a spiritual, existential and human
path through the sincere transformation of
emotionality into music. From the writing
of the first songs to the final definition of the
album, the band followed an emotional flow
free from particular canons and labels for
what concerns their own music, choosing
to adapt every single song to the feeling that
inspired the composition. The intention was
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interview
to create a story as sincere and introspective
as possible in which words and music and
arrangements were complementary one to
another and only aimed at communicating
what for several years has shaken the heart of
the author. The communication is at the basis
of the whole work and the dialogue with
oneself and with God is the basis on which a
music tale develops in order to abandon the
need to appear in favor of the naturalness of
human being.
The record portrays a spiritual journey divided
into three acts (Fall, Journey, and Liberation).
What were your sources of inspiration
for writing?
The author’s personal experience is the primary
source of inspiration, and is represented
in absolute honesty. The human path
marked by various and complex events has
caused a sense of loss in the existential path
of the author who has seen his convictions
sunk in the daily conflicts and felt the need
to recover connection with God and with his
inner self. The comparison between what we
appear to be and what we really are and feel,
and the comeback to a priority and exclusive
dialogue with God, are the basis upon which
the inspiration of the work is based.
Are you already working on new songs?
Can you anticipate something?
At the moment we’re working on two different
projects related to the band, in addition
to the promotion of our last album “Waitin’
4 the Dawn”. We’ve started the production of
our next album by working on the arrangements
and sound development of about 10
new unreleased songs composed in the last
two years; besides we are starting the final
(long) step in the realization of a Rock-Opera
called “The Cross”, with the aim to debut with
the stage of the opera within the next two years.
Francesco K Epiro realized the script and
composed all the music and lyrics and Epiro’s
sister Kini (Theater Designer graduated at
“Accademia delle Belle Arti di Brera”) realized
the scenography and costumes; at the moment
Epiro and Maria Rita Briganti have just
started the work on vocal arrangements and
music orchestration; soon the band will start
to record the songs and we’ll put together the
cast.
Can you describe your concerts? What will
be the next dates
Movin’ K live sets of 2017 are focused on new
album songs; when we’re able to work on
stage with the right space and solutions we
complete the performance with visual components,
such as videos and scenic objects,
with the aim to represent the themes of “Waitin’
4 the Dawn” in the best possible way. This
summer we’ll be on stage at “Garden Music
Festival” in Valle d’Aosta and we’ll perform a
couple of concerts in July. We’re planning an
intense period of live performances for autumn-winter.
You can check every news about
our events by linking on our web site, www.
movink.net, or our facebook artist page.
Who is or who are the Italian independent
artists who you esteem the most at this time
and why?
We are most influenced by international artists,
we love music but we prefer a musical
genre that is not widespread in Italy. There are
several artists we estimate and we think that
the general artistic level of italian musicians
is very high. But in terms of creativity and
ideas we still find much confusion and inconsistency,
powered by Italian music mainstream
founded on TV format and talent show
that penalize the artistic purity and honesty.
We regret great visionary songwriters of the
past such as Lucio Dalla and Giorgio Gaber,
and we love the sweetness and sensitivity of
authors such as Niccolo’ Fabi and Daniele
Silvestri. We are also inspired by the works
of musicians such as Ludovico Einaudi and
Stefano Bollani, and classical music. What we
constantly research in music is the communication
of emotions, the sharing of feelings.
We appreciate the aesthetic but we’re most
focused on the subject and themes that lead
an author to create music.
Can you list three Italian or foreign songs,
which have influenced you particularlyin
your artistical path?
Three songs are a very small selection compared
to the great number of artists and albums
who constantly inspire our works, feelings
and creativity. By forcing us in a restricted
choice we can mention three bands who’s
been fundamental in our artistic education:
Pink Floyd, Police and Toto. We don’t expect
to be even remotely similar to these incomparable
legends, but our music it’s always been
inspired by their works. We also need to mention
other 3 artists through three amazing
songs that filled up our hearts and souls with
their matchless beauty: “Anna Stesia” (Prince),
“Don’t give up” (Peter Gabriel) and “Telegraph
Road” (Dire Straits).
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