BAFFO BANFI

In my early adult years, the early 90's, I used to listen to a lot of electronic music, favouring the Innovative Communication label founded by Klaus Schulze. Back then there were many -IC- compilations in libraries, and thus I was introduced to dozens of artists in the genre. One compilation contained a charming track from this album which I'm now listening to, for the first time in its entirety, from YouTube. My knowledge on Baffo Banfi has remained very limited, but I enjoy digging deeper in the means of reviewing.

In the seventies the Italian keyboard player Giuseppe "Baffo" Banfi (b. 1954) played in the R.P.I. group Biglietto Per L'Inferno whose eponymous debut was released in 1974. Banfi's solo debut Galaxy My Dear came in 1978 and the third album Hearth in 1981, after which he didn't make new albums until he collaborated with Matteo Cantaluppi in 2015.

Ma, Dolce Vita is Banfi's second solo album. The four pieces that would fill the first vinyl side (I don't think -IC- ever released vinyls, though) are followed by an 18-minute epic with an obvious KLAUS SCHULZE influence. The shorter pieces are therefor more personal in their light, sort of Mediterranean elegance. 'Oye Cosmo Va' is New Age-y synth music in a peaceful tempo. One could think of KITARO, and maybe Jean-Michel Jarre at his lightest and calmest. At nearly seven minutes the piece slightly overstays its welcome when the musical substance is regarded, but taken as music for relaxation the extended length is justified.

'Quelle Dolce Estate Sul Pianeta Venere' is the mentioned charming track I found three decades ago, and what a delight it still is. There are three elements that function perfectly together: the soft rhythm foundation at the bottom, the tiny, chirpy, almost birdsong-like synth sonics, and above all the airy continuum of the lead synthesizer soaring peacefully and giving the piece its dreamy, happy atmosphere. On the next 7+ minute track the basic approach is rather similar, but the piece is not as elegant as 'Quelle Dolce'. If the chirping birds were little ones earlier, here they have a lower, frog-like voice, so to speak, and the piece doesn't soar the same way.

'Astralunato' (3:51) was also familiar to me from some -IC- compilation, but this is the weakest piece in its harmless prettiness. The steady rhythm and the overall lightness have a bit kitch-y feel that hasn't aged as well as other pieces. The epic track 'Fantasia di un Pianeta Sconosciuto' (17:57) strongly resembles the music of Klaus Schulze and undoubtedly is the highlight especially for those listeners craving for more progressive, adventurous and introspectively thoughtful approach than elsewhere on the album. There are also some effective tempo changes, and towards the end the piece finds intensity comparable to the mid/late-seventies TANGERINE DREAM, in good and in bad. But given the overall elegance of this album, that's a good move and widens the spectre. This album really was a pleasure for me to visit, and I might even include it on my TOP 30 of electronic music albums, somewhere behind numerous albums from the major artists I've been listening over the years.

It is just too average to even trascend any unknowledgeable prog electronic or just prog follower. Its constant good humored pieces are felt artificial and seem to cover up for original songwriting.

If you really want to find something nice about this release, some of its guitar moments are relevant, but caught up in mediocre songwriting,

I guess this is just for collectors or die-hard Banfi's followers.

Accordingly **2 PA stars.

'Galaxy my Dear' sounds incredibly like a cross between Edgar Froese and Klaus Schulze circa 1975 which isn't a bad thing at all. Full of old school Berlin electronics from the outset, this will please Tangerine Dream and Schulze fans via 74-77. There's very little wrong with 'Galaxy My Dear' other than the fact that it sports the most dreadful artwork (what the hell's going on with those dungarees?) That and the fact that it sounds like downright plagiarism.

Admittedly the album was made with acknowledgment to Klaus Schulze who he considered his one major influence on the creation of this recording. Fair enough...

Anyway, this is a damn sight better than the other Schulze copycat 'Edelbert von Deyen' from the same era who's artwork was excellent but who's music was utter pants.

There are one or two ropey, rather cheesy moments involving the choice of keyboard sound along with an attempt to duplicate almost outright, Edgar Froese's 'Aqua' side 2, which sends things back to 1973. A bit directionless, certainly nothing ground-breaking, but overall not bad. Recommended to you hardcore Berlin electronics folk out there.