TRAKS MAGAZINE #13

Barberini, “Barberini”
Barberini is the
pseudonym of
the Roman singer
Barbara Bigi, but
it is also the title
of her homonymous
debut. The disc, anticipated
by the video Le Cabriolet, is sung in
Italian and is distinguished by its
lysergic and evocative dream-pop.
It opens with the guest, who is
actually a permanent presence
throughout the record, that is Filippo
Dr. Panico, on the opening of
L’ultima notte, a slow and rather
nocturnal double voice. It continues
with a more minimal whales,
which exploits the strength of the
nursery rhyme and plunges into
synthetic waters. Intro elongated
for Le Cabriolet, which despite
having a common thread made of
guitar turns out to be rather underwater.
Impression transmitted
mainly by the vocal filters, which
are repeated even in the slowest
but regular Chiacchiere da bar.
reviews
Piano, strange ideas and movie criticism
in Le produzioni di Hollywood,
built on metaphors. Vorrei
enters in the superhero mood
to play with minutiae. Spku talks
about social-virtual worlds, resulting
in an almost ambient song.
Astronavi instead returns to the
piano to tell astronomical stories,
slow and curious. It closes with a
crowded Titoli di coda. With a
voice that makes you think of easy
listening and past decades, Barberini
manages to bring out its particularity
from well-written and well-finished
songs.
Paolo Spaccamonti-Jochen Arbeit,
“CLN”
Paolo Spaccamonti
continues
in his high-level
collaborations
and this time
meets in a heavy
weight like Jochen Arbeit of
the Einstürzende Neubauten. The
result is CLN, an experimental
disc with influences ranging from
ambient to broader electronics,
naturally with a central part for
the guitar. Track I is ambient and
introductory, with soft and diffused
sensations. Other features of
a rather infuriated and extreme
Track II, prey to a sort of electrical
hysteria. With the Track III the
tones are lowered and the times
are lengthened, as if passing the
first skirmishes the intent was to
work deeper. Track IV continues
in the underground work, relying
on a deep percussive movement
that allows the guitar to wander a
bit, even if in a subdued and rather
melancholic way. With Track V
instead, the times are shorter again
and assumes as a matter of fact a
repeated guitar tour and a slightly
desert rock atmosphere. Track
VI respects a similar pattern, but
with greater separation between
the lead guitar and the underlying
background (and buzzing). It clo-
ses with Track VII,
in which the vibration
becomes dominant and
dictates the line, in a heavy
and menacing gait. Net of a
superbly sound creativity, Spaccamonti
and Arbeit launch themselves
without parachutes on experimental
paths as if they had been
collaborating together forever.
Indianizer,
“Zenith”
Three years after
Neon Hawaii
debut album,
Indianizer publish
Zenith,
the second work that marks the
achievement of a more personal
and conscious sound. Characterized
by the use of English, Spanish
and an invented language, the songs
were born from free and wild
jam sessions to which the vocal
lines were added later, outlining
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