QUIGYAT (WITH BORDA)

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.

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.

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 "Lòs Pàjaros 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 Györgi 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 "Lòs Pàjaros 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." "Ciò 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!

Every Claudio Milano related project is quite an artistic experience, and this is not the exception.

And I said artistic because it goes beyond music, because Nichelodeon shares a multi-disciplinary experience that yeah, has music as the main ingredient, but is quite theatrical, so performances are always related to Milano's work, creating this sensorial link between sound and vision. This time he, along with Francesca Badalini on piano, Andrea Grumelli on bass and electronics, and "Borda" Ravelli on drums, percussion and electronics, has release a new baby under the name of "Quigyat", which features five tracks and a total time of 39 minutes.

It starts with the title-track, "Quigyat (Little Symphony for Frozen Soldiers)" whose first couple of minutes are like being in a dawn of a day not so bright, because there is tension on it; later vocals join and piano begin to produce several emotions, first joining that tense atmosphere, but then creating more tender passages, however, I think there is a constant sense of sorrow in this album, which is wonderfully shared by Milano's theatrical skills, along with the raw distorted bass that appears at minute five. It is not easy to stay calm while listening to this, there are some disturbing moments which is good because, in the end, I think is what they are trying to transmit.

"Alla statua dei Martiri di Gorla (Requiem in Defence of Children's Rights)" is the longest track here. A kind of gothic feeling is perceived, the relationship between fretless bass and piano is wonderful, a constant dialogue which, after a couple of minutes is complemented by some far distorted noises. It is apparently a passage of calm where one can even close the eyes and feel a bit at peace; however, as the title suggests, it has a an inherent protest on its essence, because art is also protest and with it, people can spread messages. After the fourth minute Milano's lyrics appear and along with the electronics, a clear ambient of tension is shared, in spite of the delicate piano notes. Later they surprise us with a joyful / playful passage, which I think represents a kid's essence.

"Los pájaros perdidos" is a delicate (at least its first two minutes) track sung in Spanish, and then, all of a sudden Milano and co make the stage explode with a heartfelt but sorrowful passage where energy and emotions float on. Here we can truly appreciate the musicians skills, as well as Milano's capacity of recreating himself and provoke emotions no matter the language he is speaking.

"Malamore e la luna" has a cabaret-feeling start, then it changes a little bit and the theatrical essence is spread everywere; the drums/percussion work is great, adding a diversity of colorful elements that are wonderfully complemented by piano, vocals and bass. Despite being a relatively short track, I like its variety of changes in sound and mood, creating a totally avant-garde experience.

The album finishes with "Cio Che Rimane" which is a quite interesting song because there is a passage where we can clearly hear rock, in an experimental way, of course, but rock after all; and it contrasts not only with how this track starts, but with the whole album, and I think this explosion is great. Though is noticeable who drums explosion helped developing new rhythms, I really love the piano work which can share cadence and power at the same time. Of course, the music slows down and make some other changes, leaving us with a great musical and multi-sensorial experience.

Once again Nichelodeon have delivered a high-quality work, and I thank Milano for introducing me to it, and all the band for make this possible.

Found in other reviews and confirmed by an internet search, Quigyat is a Greenland's Innuit word to indicate a particular Aurora borealis which they think is made of the souls of "children died of violent death or in the day of their birthday". If so, I suspect a lot of those auroras should be visible in Palestine nowadays.

Anyway, this new Nichelodeon release features Teo Ravelli, aka "Borda" which is not just a guest as this is a real collaboration. The title track opens the album with a musical crescendo that at a certain point stops and leaves space to the great piano of Francesca Badalini (from I Sincopatici). Here Claudio Milano performs a sort of tragic recital. Knowing what Quigyat means, hearing "Dov'e' la mamma?" (Where is mum?) is a punch in the stomach, and I already know that more punches of this kind will come with the next track, previously published in the studio double CD "Bath Salts". After the vocals, the track proceeds with various soundcapes until a sudden stop when Claudio performs an acappella wordless chant vaguely reminding to a sort of funeral missa.

Then it comes "Alla Statua Dei Martiri Di Gorla". This was one of my personal favorite tracks on Bath Salts and it's again about children's death. It refers to an episode of the WWII, when a storm of English bombardiers was meaning to destroy a factory, but because of an error in the coordinates they destroyed a primary school killing about 200 young children. In this version the intro is a bit more melodic than in the original version, with piano and fretless bass. Or better, the melody is almost the same, but the fretless bass gives it a different colour. Knowing what it's about, would surely help to appreciate it, even for those who don't understand the italian language. I just mention a sentence: "Today let the bombs be only drunken skittles". This song gives me goosebumps everytime, not relevant, but my mother was born in Gorla and I have seen the statue.

Then a sursprise: it was since "Di Meola plays Piazzolla" that I didn't find the Argentinian tango mastermind in a progressive album. It's a slow song and the absence of the usual noisy background that's almos always present in Nichelodeon, shows that they are capable of melodic and not too challenging music...well it doesn't last long. The chorus features the noisy soundscape of Nichelodeon enhanced by the great percussion of Borda. In any case, as I have written years ago about the album "Cinemanemico", if they would ever try a more commercial approach, I think they have the potential. They are just too artists to be commercial.

"Malamore e la Luna" is my favorite Nichelodeon track ever. Its chorus is fixed in my mind and having discussed about it directly with Claudio, some time ago he has sent me a copy of the original score. My public "thank you" for it. I love this song and as on Gorla, also in this version the fretless bass adds a fantastic layer. The final is more noisy than on the original version, and I can't say which version I prefer. It's like asking which version of the Comfortably Numb solo you like. If you like it, you like all its versions. (just an example, nothing to do with Pink Floyd)

The closer is "Cio' Che Rimane" (What remains) which has already two versions: in Cinemanemico and in Bath Salts. In this version the piano reminds me a bit, maybe only to me, the first Emerson Lake and Palmer. It's a typical Nichelodeon track, with the instruments backing the theatrical vocal performance of Claudio, with piano only or with a complete set of noisy keyboards and percussion coming and going. In a point near the end of the track I think I've caught an echo of Radiata Quintet, another side project by Claudio Milano.

So what to say? Who is already in, can enjoy the new versions of those songs, but this can be a good starting point for whom intends to approach this band for the first time. Challenging but rewarding.

Somewhat remarkably, here we have the second album from Claudio Milano this year, which in some ways is the follow-up to the 2021 album by NichelOdeon, 'Incidenti - Lo Schianto' and in other ways is the companion to the new album 'Decimo Cerchio' which he recorded with the trio I Sincopatici. The reason I say the latter is that here he again works with Francesca Badalini (piano) and Andrea Grumelli (fretless bass, electronics) from that band. This is the first time Claudio has worked with electronic artist borda (Teo Ravelli), who provides drums, percussion and live electronics, and combines live performances and studio work. The voices were recorded live in Stradella in September 2023, in a show between theatrical monologues, mime, abstract painting and music, and it is this theatricality and feeling of there being much more than "just" singing which is a huge element of all of Claudio's work.

According to the Greenland Inuit, the "Quigyat" auroras were the spirits of children who died a violent death or on their birthday. The lyrics are incredibly important in this work, and I am fortunate enough to have been able to read them in English (they are sung in Italian), and they are quite shocking and thought provoking, and anyone who can understand the language must be very moved indeed when hearing them delivered with the empathy and emotion from Milano. Musically this is a far more accessible release than many of Claudio's works, as he is using his vocal talents in a much more normal manner with less of the over-the-top theatrics, and the piano combines to make us think we are at an opera or classical performance. It is also much shorter in that this has been designed to fit on one vinyl album, but don't let that lure you into thinking there is nothing challenging here, as the gentleness of "Los Pajaros Perdidos" soon gives way to chaos before switching back again.

Of the two albums he has released this year, this is the easiest to get inside and if you have yet to investigate the music of Milano then this is the one to start with, but if you want something to stretch your musical understanding then head over to 'Incidenti - Lo Schianto', but if you are like me then you will need to have both in your collection as this is another wonderful work from the maestro.