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Nichelodeon Quigyat (with Borda) album cover
3.67 | 4 ratings | 3 reviews | 0% 5 stars

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Studio Album, released in 2024

Songs / Tracks Listing

1. Quigyat (Little Symphony for Frozen Soldiers) (9:00)
2. Alla Statua dei Martiri di Gorla (Requiem in Defence of Children's Rights) (10:26)
3. L˛s PÓjaros Perdidos (4:58)
4. Malamore e la Luna (2024) (5:28)
5. Ci˛ che Rimane (2024) (9:17)

Total Time 39:09

Line-up / Musicians

- Francesca Badalini / piano
- Andrea Grumelli / fretless bass, electronics
- Claudio Milano / voice, theatre
- Teo "Borda" Ravelli / drums & percussion, live electronics

Releases information

LP Snowdonia Dischi SW98 (April 25, 2024)

Thanks to Mirakaze for the addition
and to projeKct for the last updates
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NICHELODEON Quigyat (with Borda) ratings distribution

(4 ratings)
Essential: a masterpiece of progressive rock music(0%)
Excellent addition to any prog rock music collection(75%)
Good, but non-essential (25%)
Collectors/fans only (0%)
Poor. Only for completionists (0%)

NICHELODEON Quigyat (with Borda) reviews

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Collaborators/Experts Reviews

Review by snobb
SPECIAL COLLABORATOR Honorary Collaborator
4 stars For the year 2024 Italian voice artist Claudio Milano's "Nichelodeon" project offers a new five-piece work "Quigyat" . "According to the Greenland Inuit, the "Quigyat" auroras were the spirits of children who died a violent death or on their birthday" is stated in album's liner notes, and even without knowledge of Italian the listener can easily feel the sadness, anxiety and dark beauty in music. Songs' titles like "Little Symphony for Frozen Soldiers" and "Requiem in Defense of Children's Rights" tell it all too. But even if the whole work is as eclectic as always with any Milano work, there are not only dark colors or concern in it.

The trio of Milano, pianist Francesca Badalini and fret-less bassist Andrea Grumelli on this album for the first time collaborates with percussionist/ live electronics artist Teo "Borda" Ravelli. Being eclectic, "Quigyat" is less quirky then many other Milano works. The vinyl space limitation dictates extremely accessible (for Milano music) release size - less then 40 minutes in total. It's not a secret, that many previous Milano works were far not easy accessible even for his followers since they contained extremely eclectic and complex form material, offered in a size of two or three hours long.

"Quigyat" is more accessible and it shows that smaller doze is sometimes a better solution. Still, the material here isn't what newcomer can easily imagine. Milano offers his usual voice theater, mixing musical genres from singing poetry to tango, to analog electronics and quite bare-naked piano-fretless bass Italian prog.

I really like here minimalist take on a chosen material with highlighted bass line, a bit flat piano sound and in whole very theatrical atmosphere. For my ear, "Quigyat" is one among more successful Milano works and can be recommended for open ear newbie, interested in testing what Claudio Milano music is too.

Review by Mellotron Storm
3 stars 3.5 stars. "Quigyat" is NICHELODEON's first production with electronic artist Teo Ravelli, who also adds drums. According to Inuit folklore the Northern lights were the spirits of children who died a violent death or died on their birthday. I live in central Ontario and am far enough north that I have seen these lights many times but it seems like a long, long time since I've witnessed them. There was to be quite the show of these lights about a month ago but we happened to have cloud cover making that advertised event a bust.

This record was taken from an event called A.N.F.O.R.E. which stands for "a new form of European recital". The voices on here were recorded from that live event and added to the studio compositions. This is surprisingly stripped down with us often just hearing bass, piano and Claudio's voice with electronics creating atmosphere. Considering the subject matter I am not surprised at how dark this can be and especially sad. They do go into the difficult side of our music but this record is less that than any of the previous NICHELODEON cds I own, in fact even Milano's vocals sound strangely normal at times. Still, this is not for the faint of heart believe me.

I think that second song "Requiem In Defense Of Children's Rights" is like a mini version of the album in the sense that everything I have described about this record is here. A great track to sample to see how you feel about this album. We get five tracks worth about 39 minutes and some of the instrumental sections were taken from previous NICHELODEON tracks. That closer might be my favourite, haunting and I like that there's drums and how about that powerful section just before 6 minutes. So good!

I applaud Claudio and this band for doing something a little different here although it seems Milano is always searching for something new and different to unveil to the world. I'll admit that their music doesn't always work for me, with me giving half of their records less than 4 stars over the years, but then there is always this guarantee with his music that new paths will be forged and that is exciting and welcomed whether I think it works or not according to my musical tastes.

Review by siLLy puPPy
4 stars Claudio Milano has remained one of the most intrepid musical alchemists of the Italian progressive and experimental scene of the 21st century and has seemingly collaborated at one time or another with everyone who has touched upon the explorative underground of music where rock, modern classical, jazz and the avant-garde meet in dark alleys awaiting a future discovery. NICHELODEON has been one of Milano's primary projects since 2007 where he has forged some of the most cutting edge musical statements with a humungous number of other like-minded vocalists and musicians who have also propelled the world of experimental music into new realms.

It's only been three years since the last NICHELODEON release "Incidenti - Lo Schianto" which featured a whopping 44 extra musicians collaborating to craft the most unclassifiable music to exist in the 2020s. The best thing about Milano and his projects is that you never know where he's going next and to only expect the unexpected and with the newest NICHELODEON release QUIGYAT, Milano throws yet another curveball with a leaner lineup of only three musicians and Milano on vocals as well as a more accessible stripped down approach that serves somewhat as a little breather after the massive complexities that Milano typically fortifies each and every release with.

While QUIGYAT is a less ambitious affair than its predecessor, Milano delivers yet another slice of strange musical statements and expressive vocal performances with a little help from pianist Francesca Badalini, bassist / electronic wizard Andrea Grumelli and a special appearance by percussionist and live electronics master Theo "Borda" Ravelli. QUIGYAT features five tracks and is the Greenlandic Inuit words that refers to auroras that appear in the sky after children either die a violent death or suffer a death on their birthday. The album exudes a darkness that laments these themes with haunting performances as well as the NICHELODEAN staple of taking you on a musical journey that you weren't quite expecting.

These tracks were basically recorded live at A.N.F.O.R.E. which stands for "A New Form Of European Recital." The band presented a multi-discipline artistic statement that featured various elements including monologues, miming, visual arts such as painting and of course music. While recorded in a live setting the music was processed, edited and given additional sounds to make this a unique live / studio hybrid. The event itself took place in September of 2023 and after mixing it all together the final product resulted in just over 39 minutes of crafty experimental musical mojo that really only features one new track.The other ones consist of three reworked tracks from earlier NICHELODEON releases as well as a surprise reinterpretation of Astor Piazzolla's "L˛s PÓjaros Perdidos."

The only original score, the title track begins this set and is more of a formless series of progressive electronic experiments that finds bizarre atonal piano rolls and Milano's vocal additions popping in and out of the electronic freakery. Milano delivers declarative expressive vocal performances reminding me a lot of Catherine Ribeiro's approach with her most experimental moments with Alpes. The fretless bass also adds an air of mystique and although the track drifts on for nine minutes never totally declares itself as rock, jazz or classical but rather offers a very surreal pointillistic approach that will evoke the works of 20th century classical masters such as John Cage, Karlheinz Stockhausen or Gy÷rgi Ligeti. Milano ends it all with an indigenous chant.

After the avant-garde adventurism of the bizarre introductory track the rest of the album feels tame in comparison relying on the piano as the primary melody maker although the electronic wizardry is always a key ingredient in offering the dark atmospheres and icing on the cake. "All Statua Dei Martitri Di Gorla" tackles the theme of the district of Gorla in Milan that was bombed in October 1944 accidentally killing 184 and serves as a eulogistic memorial of sort to commemorate the senseless atrocities that plagued much of Europe during World War II. The following interpretation of Astor Piazolla's "L˛s PÓjaros Perdidos" is a bit moire light-hearted and Milano leaves the comfort zone of his native Italian to sing in the Spanish language. Primarily piano based with a vocal accompaniment, this track delivers a unique take on the world of tango forged into an avant-garde oddity.

The closing two tracks are stripped down minimalistic reworkings from the 2010 avant-prog release "Il Gioco Del Silenzio" and follow suit as piano-based songs that focus on Milano's lyrical delivery and distinct vocal style that offers both traditional singing and his usual or should i say unusual voice experiments. While the music is very structured, the band offers moments of avant-garde freakery such as the closing sequence of "Malamore E La Luna." "Ci˛ Che Rimane" offers a more abstract ambience and mixes the avant-garde electronic nebulous sonic storm of effects with the more structured piano based vocal accompaniments. Likewise it offers some extremely bizarre deviations from the primarily melodic piano and vocal performances.

Admittedly i was underwhelmed by NICHELODEON's latest release. Let's face it, Milano has spoiled us with an excess of riches on the last two albums and pushed the limits of progressive music in just about every conceivable way. I had to let this one sink in after a few listens and suspend any expectations or comparisons to previous efforts and simply accept it on its own terms. After all, change is the only constant in the universe so more of the same for NICHELODEON is rightfully unacceptable. After a few attentive listening sessions though, this one has gotten under my skin and has emerged as another delicious morsel in the ever-changing world of Claudio Milano's sonosverse. While i can't honestly say it tops NICHELODEON's previous efforts in any way shape or form, it's still a worthy set of five deliciously delectable tracks that offer a nice respite from the all weird all the time methodologies on previous efforts. A delayed light bulb moment for me on this one but ultimately one where the switch was turned on!

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