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.
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