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FONDERIA

Eclectic Prog • Italy


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Fonderia biography
1. Fonderia was born in December 1994 as a band devoted to improvise and mix sounds and styles. Members are Emanuele Bultrini (guitars), Stefano Vicarelli (piano, organ, synths), Federico Nespola (drums), and Luca Pietropaoli (trumpet). Through the years the band gradually extended its sound, exploring musical landscapes that span from jazz-rock to ambient, from world music to funk, by means of improvisation. All these musical experiments were recorded in several demos that had very good reviews on several Italian magazines.
In December 2002 the first album by Fonderia, "Fonderia" was released, after more than one year work, obtaining very good response from Italian radios ad magazines, and awarded with the Darwin Award in April 2004, as the best Italian record of 2003.
Since September 2004 the album is distributed worldwide by BTF (www.btf.it)
The group often collaborates with other artists such as Rodolfo Maltese (guitar player from Banco Del Mutuo Soccorso), Punch & Judy, Slow Motion. Since 2003 bass player Claudio Mosconi joined Fonderia on most concerts.
The band also experimented interaction with other arts: poetry in the project "I racconti della Fonderia" (Tales from Fonderia), with lyrics by Nicola Bultrini, videos by Virginia Eleuteri Serpieri. They worked on soundtracks for short movies ("Tra cinque secondi fa", 2000, by Alessandro Mistichelli), and composed music for silent movies, gaining international awards at the festivals Rimusicazioni 2001 (for the original music on "Charcuterie mecanique", by the Lumiere brothers), and Strade Del Cinema 2003 - International Festival of live music for Silent Movies (First Prize for the music on "My wife's relations" by Buster Keaton); the soundtrack was published in the cd compilation "Notes on Frame" (Strade Del Cinema, 2003).
Further, Fonderia composed music for theatre, and for documentaries by Italian National Television (RAI), collaborating also with Baffo Banfi (from the 70's Italian band Biglietto per l'Inferno).
Concerts were held around Italy, often with the performances of painting improvisation by painters Francesco Nespola and Francesco Parruzza. In 2004 the band partecipated to Arezzo Wave, the main Italian rock festival.

2. The self-titled debut album by Fonderia is a mix of several sounds and influences both from 70's music and intruments (such as Rhodes, Hammond, MiniMoog) and contemporary trends (electronic, world music). Improvisation is the source of inspiratio...
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My Grandmother's Space SuitMy Grandmother's Space Suit
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Re-EnterRe-Enter
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FONDERIA discography


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FONDERIA top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.10 | 16 ratings
Fonderia
2002
3.96 | 7 ratings
re>>enter
2006
3.72 | 31 ratings
My Grandmother's Space Suit
2010

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FONDERIA Reviews


Showing last 10 reviews only
 My Grandmother's Space Suit by FONDERIA album cover Studio Album, 2010
3.72 | 31 ratings

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My Grandmother's Space Suit
Fonderia Eclectic Prog

Review by TheGazzardian
Prog Reviewer

4 stars My Grandmothers Spacesuit is Italian act Fonderia's third studio release, and the first I have heard. The music is, in general, instrumental music that has a fair amount of jazz and rock in it, but it seems to me there's a tiny bit of the techo/dance ethos going on behind the scenes as well. I wouldn't mind dancing to Istanbul, for example - not that I could, of course (whether it's a pandemic that applies to all proggers or just to me, dancing is not my strong suit).

As such, a lot of the tracks on this album are high energy, usually with a consistent rhythm section while the guitar, keys, and / or trumpets do cool things on top of it. The rhythms are what makes the music have that "danceable", energetic feeling, but it's what's done on top of it that makes these songs more interesting and give them a sense of development. Really a great combination.

The album features two songs that feature guests; Loaded Gun (the third track) and I Can't Believe This Is Just A Pop(e) Song (the eight). The positioning of these tracks was quite masterful, for they break up the album nicely. I'm particularly fond of Loaded Gun; it was in fact based off the strength of this track that I decided to purchase this album. It features the vocals of Barbara Eramo and poetry by Emily Dickinson. It really is a very beautiful track, and quite mysterious as well. The end section hits the emotions quite nicely. (On that note, there is also a wonderful music video for this track that is really good - a story based on, no images of the band playing, and it has a really cool feeling and level of mystery to it. Check it out, it's on youtube!)

The Pop(e) song is not about pops, the chorus sounds more like "poppy poppy poppy poppy pop over you", or something along those lines. It's upbeat, and fun, and closer to what the rest of the album sounds like (a bit less atmosphere than Loaded Gun).

There aren't really any bad songs on this album, but in my eyes, the standout tracks are Istanbul, Gravity Wave, and A Billion Electric Sheep. Enjoyable from beginning to end, this is definitely a recommended listen!

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 My Grandmother's Space Suit by FONDERIA album cover Studio Album, 2010
3.72 | 31 ratings

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My Grandmother's Space Suit
Fonderia Eclectic Prog

Review by Cesar Inca
Special Collaborator Honorary Collaborator

4 stars "My Grandmother's Space Suit" is, in itself, the answer to the question "how will Fonderia create a new repertoire of creative works after the delivery of magnificent sounds and moods in their previous album "Re>>enter"?". Well, they did so by reformulating their modern jazz framework. This album is a novelty in various aspects for Fonderia, one of them being the inclusion of two (not just one) sung tracks: 'Loaded Gun' (with lyrics based on a couple of poems by Emily Dickinson) and 'I Can't Believe This Is Just a Pop(e) Song' (a real musical parody featuring Belgian guitarist-singer Emmanuel Luis). 'Moebius Onion Rings' opens up the album on a melancholic note, bearing abundant shades of sonic warmth and introspective flairs (due mostly to the dynamics that Vicarelli creates at his electric piano). Even when the pace gets faster, the eerie melancholy prevails all the way through. This exercise on serene jazzy ambiences contrasts the robust exoticism of 'Istambul', one of the highlights in the album: its combination of fusion and acid-jazz owes much of its success to the exciting alternations of Bultrini and Pietropaoli's tasteful solos (actually, this is one of the most consistent musical strategies in the band's repertoire) for the development of the basic compositional subject. 'Loaded Gun' features guest vocalist Barbara Erame: relaxed in a tense way, atmospheric yet adorned with pertinente moments of density, this piece states some sort of mixture of 90s Gabriel and 00s Bjork: at least, this is how I can describe it. Eramo delivers the emotions beautifully. 'Gravity Wave' establishes yet another moment of vibrant modernity with its combination of trance and nu-jazz: this is really a piece that could feed a multitude's groove on a dance floor. 'Liquid', on the other hand, bears a majestic sort of progressive musicality, somewhat related to the band's second album. The synth solo in the middle section and the acoustic guitar arpeggios that go meandering in and out are my fave elements in this track. And so we get to 'A Billion Electric Sheep' (a tribute to Philip K. Dick's novel "Do Androids Dream Of Electric Sheep?", I presume) is an exercise on un-jazz wrapped up in psychedelic wool (a-la Ozric Tentacles) and electronic satin (early 80s Kraftwerk). 'Gojira' continues in this electronica-friendly trend Albert with a rockier punch, which certainly helps the band to properly exploit the track's essential dynamics, mostly sustained on the rhythm duo's funky groove. There is an ethereal spacey interlude that adds an interesting variation before the return of the original drive for the closing part. With the 'I Can't Believe This Is Just a Pop(e) Song', Fonderia an guest Louis indulge in a Zappa- esque sort of pop parody (in the mould of "Zoot Allures" or "Joe's Garage", I guess). But let's not forget that this band is constantly experimental, and the use of Frippian guitar tricks in this song makes it no exception at all. The album's last track is 'Doctor's Hill', a piece that shares much of the intimate introspectiveness of the opener during its first 3 ½ minutes; the remaining part shifts toward a powerful climax. This end is tremendously colorful, which makes the album's conclusion an exciting experience. More exciting it is, of course, listening to the whole album many times in order to enjoy it more thoroughly with each listen: after all, this is a Fonderia album, which a guarantee of great quality eclectic jazz-rock.

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 Fonderia by FONDERIA album cover Studio Album, 2002
4.10 | 16 ratings

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Fonderia
Fonderia Eclectic Prog

Review by apps79
Special Collaborator Neo Prog Team

3 stars Rome-based quartet FONDERIA started the journey in music in mid-90's featuring Emanuele Bultrini (guitars), Stefano Vicarelli (piano, organ, synths), Federico Nespola (drums), and Luca Pietropaoli (trumpets).The band names Miles Davis, John Coltrane, King Crimson, Area and Brian Eno among their influences so you can think correctly about a costantly exploring sound.Additionallt the band composed soundtracks for short and silent movies in the meantime,winning awards at several festivals.In 2002 FONDERIA found themselves ready to record their self-titled debut,I think it was a private press (correct me if I am wrong),but the album was re-realeased on Italian BTF a couple of years later.

STYLE: Well,I'll start by saying that this a total chaos in terms of styles and moods...the band can play easily heavy guitar Crimson-esque prog,flirt a thousand times with Avant-Jazz and RIO,throw in a good dose of Ambient electronics and add some pleasant Funk moments as well.The good thing is that you can meet all these contents almost in every song and not as separate sections.Emanuele Bultrini uses often acoustic guitars blended with trumpets to give the album a touch of ethnic feeling,close to Balkan music.Notice that the album is totally instrumental and I really doubt if any vocals would be suitable in such an experimental release.The slow motives help the listener explore this musical journey with all his senses.

INFLUENCES/SOUNDS LIKE: I would only compare FONDERIA's style with Mexicans CABEZAS DE CERA.KING CRIMSON meet Avant-Jazz meet World music!

PLUS: Very high and professional level of musicianship played by a band which seems to have study every note in this album.Deep and sensational atmospheres throughout the album,rarely met in more ''typical'' prog releases.Excellent performance by Luca Pietropaoli on trumperts and double bass.An attractive introduction to Jazz and Ethnic music for a traditional rock fan.

MINUS: A few negative points only to mention,as the album has a good dose of changing moods but lacks ib changing tempos,following slow gears in general.Stefano Vicarelli makes a good job on electronics,synths and piano,but more traditional prog keys like the Hammond or minimoog are very hard to find,despite displayed on his using instruments.

WILL APPEAL TO: Fans of Jazz-Fusion,RIO and even Folk Rock/Ethnic Rock lovers.For those deep into Classic 70's Prog,if you like KING CRIMSON or VAN DER GRAAF GENERATOR,then you propably need to give FONDERIA some spins.

CONCLUSION: ''Fonderia'' didn't shock me that much,despite its experimental sound,as I slightly prefer CABEZAS DE CERA of this particular style,finding them a bit more challenging.Nevertheless,I admire this ground-breaking experiumental music and the album belongs definitely to my favorites of the the year.3.5 stars for this very strong debut.

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 My Grandmother's Space Suit by FONDERIA album cover Studio Album, 2010
3.72 | 31 ratings

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My Grandmother's Space Suit
Fonderia Eclectic Prog

Review by toroddfuglesteg

4 stars Listening to this album is like purchasing a 16 meters long times 2 meters high painting....... and then installing it in a narrow hallway. It is next to impossible to get a full overview over this painting...... and this album.

This album has most everything from the archives of ProgArchives. From avant-garde, zeuhl, prog metal, symphonic prog, RPI, rock and pop. It is almost like listening to one of these compilation CDs you get when you buy a music magazine. For example Classic Rock Presents Prog. But even their compilation CDs is not that varied as the My Grandmother's Space Suit album by Fonderia. I am almost lost for words.

It is pretty pointless describing the music here any further. Those two thousand words will frustrate both me and the reader. But the basis in this Italian Stew is jazz. That is the only red thread that run through this album. Jazz and the need to explore every possible avenues. Which sometimes leads this album astray and into dead end avenues. The problem for me, as now a pretty frustrated listener, is that whatever Fonderia does, they pulls it off. Every song here is good to great. Sometimes with a narrow margin. Their playful approach to everything they tries out is very refreshing and dare I say it...... progressive ! That's what this album is. A true progressive album, but in the vein of Picchio Dal Pozzo and the bands who once populated the Canterbury Scene. And this is another thing I have noticed; Fonderia is in fact the true children of this scene, either they like it or not.

Quality wise, this album is great with a very long shelf life. This review is based on fourteen listening sessions. Yes, that is 14 times listening to this album. And I am afraid this album require at least fifteen x times before it make any sense. Well, kind of sense. It is an album that grows and ferments over a period of time. In my case, probably forty years or so. Fellow inhabitants of Glenview retirement home; beware. But I guess they would not protest when the brilliant laid back jazz tune Istanbul is blaring through the speakers. This is the best song of this album and it proves that Fonderia is a band which should be followed with great interest in the future.

This is an excellent album which will both puzzle and please those who dares seeking it's company. Seldom has the band name been more appropriate.

4 stars

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 Fonderia by FONDERIA album cover Studio Album, 2002
4.10 | 16 ratings

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Fonderia
Fonderia Eclectic Prog

Review by Cesar Inca
Special Collaborator Honorary Collaborator

4 stars Italian band Fonderia represents a big asset in today's modern jazz environment, as well as the preservation of experimental jazz and rock in their own country. Acid jazz, new jazz and fusion are amalgamated through heavily psychedelic sonic expansions, incorporating electronic ambiences, evocative moods and occasional progressive-oriented ornaments. Together with the new jazz sonorities you can tell that there is also much influence from classics such as Weather Report, and perhaps Perigeo as well. The nuances are managed elegantly as the instrumentalists go on exploring the basic musical ideas confidently, energetically yet mostly not in an overwhelming manner, but prioritizing subtleties. The most recurrent soloists are Bultrini and Pietropaoli, with keyboardsman Vicarelli joining in the limelight at times. Vicarelli's functionality is more focused on the elaboration of surroundings and moods (good use of Moog, Theremin, organ, electric piano,.), as well as samplers and other electronic ornaments; these and Nespola's precise drumming create a coherent background that isn't only a background in itself, but a very relevant element for each piece's development. The sense of mystery and darkness that somehow prevails in the album is not creepy or disturbing, but mostly ethereal, in the same way that Ozric Tentacles gets eerie at its softest. This eponymous album flows naturally, an album that one can listen while watching things go by through time, thanks to its perfectly fluid repertoire. The constrained tension of 'Dubbio II', the textural serenity of 'Dubarcord' and 'Ora Legale', the dreamy exoticism that displays its vital Arabic-Flamenco colorfulness in 'Piazza Vittorio', the foggy soundscapes of 'Dante, At Last', the cosmic ambiences of 'Statico', each and every one of all these musical resources elaborate a well-ordained transition of emotions and evocations. Every time that a guitar lead gets a bit louder than usual or a synth begins to sound apparently menacing, it is indeed something else: it is the momentary enhancement of a layer that until then had been kept in a very subtle level, like a moment of excitement among a train of tranquil thought. The exception to this "rule" is 'Afa II', a piece where Bultrini delivers a series of unquiet guitar phrases (very Frippian, indeed), all over a rhythmic cadence that reminds us of the ancient roots of avant-garde jazz. All in all, "Fonderia" is an exquisite album that serves as a solid testimony for this band's talent - proof of this talent is their ability to surpass this beautiful album with their sophomore release, but that is a matter for another review. A solid sense of structure and a joint effort to keep technical virtuosism subject to the rules generated from each composition's overall mood: these are two elements that reveal the band's musical essence, and they are indeed reflected quite well in "Fonderia".

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 Fonderia by FONDERIA album cover Studio Album, 2002
4.10 | 16 ratings

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Fonderia
Fonderia Eclectic Prog

Review by Henrock

5 stars When i reard the song dubio II in progarchives, i fell something about this band, i so i search for this album. In my humble opinion is a verry good sample of the italian new generation of progressive. their sound is a fine mix with jazz and art rock, combined with amazing lines from the synth, and a verry catch groove from the bass and the drums. I can say that this sound is the sample of the way that progressive rock should be now. The time for orchstratrion, and symphonies from the 70's progressive sound, is (unfortune) gone, so is time that us, the new generation of the style, search in jazz, and in the experimental sound, the new lines to make the progressive rock be a realy progresion in the world music. I realy recomend this album and this band to all of those who wants that progressive rock stay forever in the music scennario.

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 re>>enter by FONDERIA album cover Studio Album, 2006
3.96 | 7 ratings

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re>>enter
Fonderia Eclectic Prog

Review by Cesar Inca
Special Collaborator Honorary Collaborator

4 stars Top Italian avant-garde jazz ensemble Fonderia is back on the road, with a hell of an album indeed - "Re>>enter". For this album, the band shows that they managed to strengthen their sonic source (in no small degree, due to the entry of bassist Claudio Mosconi), and also, that they have increased their sonic pallet with the sensible use of enhanced ethnic flavors in some of this albums' tracks. The augmentation of guests also help to surpass the band's excellent debut album. Fonderia hasn't evolved in a forced way: they naturally kept themselves true to their acid jazz-meets- jazz rock-meets contemporary electronics, while expanding their views regarding arrangements and deliveries of their new material. The namesake track kicks off with an unhidden sense of joy, very funky-based with a touch of reggae here and a touch of Ozric Tentacles-like atmospheres there. The good vibrations are continued on 'Fili Kudi', which sounds to me like some sort of mixture of Motown spirit and psychedelia: the ethnically charged coda serves as an adequate festivity-oriented ending. Generally speaking, good vibrations fill the album's main core. Fonderia always save room for their electronic stuff and effects, yet they don't use these as a source for dark atmospheres or somber, but to create a particular dynamics that frames and enriches the musical ideas in an exciting manner. This holds true for all pieces with an electronic-based pace. The trance- related 'Roofus' and the techno-jazzy 'Magma' bear a danceable feel to them, as do the first two tracks, but they're no prospective disco hits at all: just pay attention to their well-ordained textures and to the clever interplay between all musicians and notice that these numbers are examples of artistic music with an extra hook. But not all excitement is expressed this way throughout the album. Fonderia show a solid melodic sense and an enormous sensibility about it in 'Grandi Novità' and 'Leonardo'. The former is a two- part number that starts with a relaxing, softly dense section, and then, gets into a faster vibe, always keeping a lyrical essence - special mention to special guest Rodolfo Maltese (from BMS), who plays some amazing acoustic guitar leads on the second section. The latter is one of the most beautiful and moving numbers in the album, impressive without getting pompous (well, Fonderia never does that). Track 6, 'm2', is an exercise on languid atmospheres, somewhere between the reflective and the melancholic. IMHO; the album's apex is constituted by the sequence of tracks 4-7. Track 7, 'Tor Pedone', is the longest one. Starting with a funky motif, the track shifts to psychedelic ambiences, not oppressive but challenging indeed; the last section sounds to me like a jazzy version of mid-90s Porcupine Tree, serving a truly elegant closure. 'Quando ero Piccolo' combines the melodic candor of tracks 4-5 and the meditative vibe of 'm2': the presence of cello and clarinet (played by guests) helps the band to increase the potential textures that flow underneath the piano chords. A special mention has to go to the guitar lead during the last half: emotionally charged, it is one of the most intense passages in the album. The ethnic stuff returns with a revenge in the closing track 'Trastevere', whose rhythm basis sets an Arabic pace on which the guitar/keyboard effects paired with the trumpet lines float at ease. Once the programmed pace sets in to complement the acoustic percussions, the full band fluidly create a gradual wall of sound in which the Arabic feel is solidly enhanced. Only a colorful track as this could properly close down such an exciting album. Fonderia's "Re>>enter" - all genuine lovers of good avant-garde music, note down this item on your next purchases' list.

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 Fonderia by FONDERIA album cover Studio Album, 2002
4.10 | 16 ratings

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Fonderia
Fonderia Eclectic Prog

Review by chamberry
Special Collaborator Honorary Collaborator

4 stars This is a good debut by this band. I first saw some reviews about it and made me curious since only two people reviewed it and the classification "various genres". The music in this album may be called "cool" and almost always very happy. Althoght it is an instrumental the track named "Dante, at last" has some narations by a women. The album has some very catchy lines, melodic but not sad nor depressing, very jazzy and well crafted.It's not complex or demanding, you can apreciate the music for the first or second time you listen to it. The only downer of this album is that at the end of it, it kinda gets a litte bit boring. Overall, an excelent debut, a great new band and an excellent addition to any music collection.

keep progin' from Puerto Rico

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 Fonderia by FONDERIA album cover Studio Album, 2002
4.10 | 16 ratings

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Fonderia
Fonderia Eclectic Prog

Review by dret.am

5 stars "Creativity, contamination & improvvisation" are the terms being in my mind after listening Fonderia music. As a constant evolution ensamble, Fonderia represent one the most appraised reality in the "poor and static" italian music landscape. This first album (a second will arrive sooner!!) is a paradigm of their great technical and compositive abilities and of the will of "take risks" in all their musical adventure. Etno-Funky-Jazz-Rock-Prog-Elettro-Ambient are all included and "liofilizated" into a single etherogenic album with an emotional absolutely enlarged spectre. From the sunny "Tevere" to the dark-electric "Statico", from the ethnic "Piazza Vittorio" to the high energy movement of "Dubbio II", the music flow without limitation of sort with non compromission with easy-listening generes. A band that gives its best expecially in the live-experience, constantly forwarded... beyond... in search of new way to express theirself (reccomanded for their impressionant live-improvvisation abilities!). The album also hosts the slow-soften spot "Deep Blue", the elettro-avantgard moment "Dante at Last", the melanconic-riverside ballad "Aniene", the easyjazz-nocturnal session "Ora legale". Finally I want to give you a possibility to realize the potentialities of these young band: the last concerts and collaboration have seen Rodolfo Maltese (Banco del Mutuo Soccorso), Mauro Pagani (Premiata Forneria Marconi) and "Baffo" Banfi (Biglietto per l'Inferno) presence on stage... !!!

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 Fonderia by FONDERIA album cover Studio Album, 2002
4.10 | 16 ratings

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Fonderia
Fonderia Eclectic Prog

Review by CrazyDiamond

5 stars ---- 5 stars really.

Fonderia is a great emerging band from Italy, and this is their first album: it's almost an instrumental album, apart from track 08, "Dante, at last", which is a nice song starting with the first lines of Dante's Inferno, narrated by a funny and enigmatic voice of a woman, mixed with anatmospheric instrument, probably a theremin. Yes, because on this album you can find remembrances of the 70's, minimoog, mellotron, horn, hammond, and influences from ambient, electronic, canterbury and mainly jazz music. This band creates mixtures of wonderful musical landscapes and more rock-oriented songs. No outstanding tracks here, the whole disc is a gem, great guitar, great bass, great horn, the musicians work perfectly together, and sometimes they remind me of Crimson "Red" era. Excellent work, Fonderia.

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Thanks to fonderia for the artist addition.

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