Ballerino di Tango si uccide
dal Campanile di San Marco

Gli Uomini e le Rovine

A collusion between Johnny B ([Inner Glory]) and Vincenzo (I.H.S.V. [Ain Soph, Inner Glory]) and no less than the city of Venice that is their 'third' member, it is no surprise that such previous association presents a similar offering. Drawing upon the history of Venice for inspiration of name and style, not to mention a fair amount of red wine, the pair develops a rustic neofolk pop (as in the music of Inner Glory, Die Natalis, Spiritual Front) session worthy of such a heritage and beverage.

'Ballerino di Tango si uccise' launches a lurching waltz, almost an antique carnival merry-go-round rotating through a mournful and romantic refrain. Organs pipe a fugue pronouncing the meticulous rhythm that leads an interweaving following of acoustic guitar and piano over which orates the vocals, one proud yet lonely and another hushed sibilant like ghosts of the past.

Plodding in succession, 'dal Campanile di San Marco' is a brief track, seemingly cautious to begin with as guitar and bass step a bucolic tune accompanied by fades of harmonica. Yet the track transforms with each vocal line as drums roll to buoy the measure of the song, pillows of organ lushly attend before dissolving. The track multiplies its rhythm in the latter section of the track, a dreamlike fuzz of multi-layered voices, distorted guitar and organ empower a passionate ending, broken only by the dancing solos between guitar and piano.

The last track immediately hints of comparison with Death in June, especially from the Rose Clouds of Holocaust album, strong emotive acoustic guitar thrusts the tune that is otherwise lacking percussion. Piping flute and soloing phrases of horn caper between the dual voices, while organs delicately frost the piece as upper register piano prickles until the exhaustive end.

NYR