ADYTHON

Italian composer and vocalist CLAUDIO MILANO have been around for a few years now, and while it's his contributions as vocalist in avantgarde band Nichelodeon that arguably is where he's made most of an impact he also issued a solo album back in 2004. "Adython" is his second solo project, and is a collaborative effort with lyricist Erna Franssens. The CD was released in January 2012, and is exclusively available from Italian label dEn Records.

Those familiar with Milano's various escapades will not be surprised to know that we're once again dealing with a production that resides within the heartland of avantgarde music on this occasion. Everything is centred around his vocal skills, covering a range most vocalists will envy him and with a vast repertoire in delivery. Expect the unexpected, and expect to be surprised. Both in terms of delivery of choice as well as just how Milano manage to utilize his vocal talents. Purified experimental in nature, and with seemingly boundless creativity, venturing where few vocalists have dared or been able to go before. And while I suspect that the lyrics of Franssens suits this type of delivery quite well, that aspect of this CD is on suspicion only as I'm not fluent nor even vaguely familiar with the Italian language.

But the contributions by Attila Faravelli, Alfonso Santimone and Stefano Ferrian suits the material very well. Faravalli adds a minimalistic electronic touch on opening piece L'Oracolo Di Delfi, rhythmic sounds, fragmented effects and occasional drones. The minimalistic nature of this supporting layer nicely contrasting Milano's flamboyant vocal escapades, but also supplementing the largely non-melodic and non-harmonic nature of the composition as such in a logical manner. Not quite my cup of tea admittedly, but the sheer skill of this performance is hypnotic in itself, resulting in an enjoyable experience despite the challenging and rather taxing nature of this relatively brief opening piece, clocking in at a mere 15 minutes or thereabouts.

Title track Adython is the sophisticated older brother of the opening piece. Twice as long and then some, sporting a fair degree of arrangements richer in scope. Multiple layers are more common throughout, and even when not the electronic additions courtesy of Santimone are generally of a slightly less minimalistic nature. Ferrian's sax does add another dimension to this construction too, and further enhancing the experience are electronically treated vocals and saxophone. An effect sparingly but effectively used, and as with everything else on this disc in an unpredictable manner.

"Adython" isn't an album that will have a widespread appeal, as far as commercial music goes this production is a good representative of the opposite. Highly unpredictable throughout, experimental and minimalistic in nature, firmly residing deep inside the avantgarde universe. And comes recommended to those who are enticed by such a description, and in particular if a vocals dominated effort of this kind sounds intriguing.

Review originally written for www.therocktologist.com

This is a new project by Claudio Milano, mastermind of avant-prog band Nichelodeon who together with Erna Frassens (aka Kasjanoova) created an album entitled "Adython" which is divided in two long tracks that make a total time of 47 minutes. Here, they offer a record that is not easy to label, and actually, not so easy to dig because of its experimental, and if you want, quirky sound shared mainly by Milano's vocals.

"L'oracolo di delfi" is the first track, with 15-minute duration. Since the first seconds we will listen to Milano's vocals making some strange noises, that at the same time let us know he reaches high notes. It wouldn't be a lie to say that the name of Demetrio Stratos came to my mind, mostly his solo work (the album Cantare la voce) and I assume Claudio has been inspired by him, among others. It is necessary to mention that the voice is not the only element here; we also have the lyrics, written by Frassens, and the electronic and computer noises that help creating atmospheres, nuances and textures.

The musical side is not the only one can appreciate here, because the vocals make an excellent work that let us also see the theatrical side, which at the same time, produces different emotions and images. In moments, the sound becomes nervous, even disturbing, which is great, because it means the music is touching you. After ten minutes there is a passage I like a lot, with tension created by the electronics, while the voice keeps sharing the lyrics, giving the precise entonation to those words.

"Adython" is the second and last track of the album, but it is really long surpassing the 30 minutes. Here they offer practically the same, I mean, experimental vocals accompanied by electronics that make backgrounds and weird noises, and also lyrics that produce something in the listener, without even knowing Italian. A wonderful decision here, was the addition of a saxophone, because it gives cadency and produce a kind of jazzy sound. The song flows, creating different passages where the vocals keep making that theatrical tune, sometimes clean, and sometimes modified by the lap effects. I like when the vocals are modified because it seems it is another character of the imaginary story, hope you get me.

At minute twelve is more evident the reminiscence of Demetrio Stratos, it is good how Claudio Milano let his voice do what it wants and play whatever it wishes. The background effects are constantly changing, putting a diversity of noises that maintain this nervous atmosphere. And the song flows, until the very end, creating a great communion between voice, lyrics, sax and electronics.

As I said, this album is not that easy to dig, however, once you allow it you will surely like it just as I did. A very good experimental, avant-garde album!

Enjoy it!

There's no denying Claudio Milano's credibility as an artist, absolutely no denying it. Adython is one of the most avant works I've heard by him thus far and it's screams and weird electronic effects are enough to make many prog fans shy away immediately, but for those who stick around and just lay back and let the music do its magic, the rewards are fantastic.

It's rough listening that turns into easy listening very quickly with two ultra-avant electronic pieces that are very reminiscent of a sort of futuristic John Zorn. It's quite an amazing listen, the vocals, sax and electronics all combining into a sort of almost rabid wall of sound that I find to be very soothing once one takes it all in.

I can't emphasize enough how the listener really should just not give up on it after the first minute, after awhile, the album just becomes so oddly concise and beautiful after the listener takes it all in. It's sort of like a noise album, only much easier on the ears, the listener eventually becomes one with the music and it's almost like a religious experience.

That is how avant music should be made.

4 stars because it really is a fantastic record. Sure, you have to be in the mood, but it's a good mood to be in.

Claudio Milano is an avant-garde vocalist and conceptualist who tries to bring together different arts such as music, visuals, stage, etc. He is one of the few artists today who is trying to do something new with his different projects (the NichelOdeon release from 2010 probably being his most well known work to date). He uses his voice as an instrument and recites the words (of his own or others) in a peculiar yet musical way.

On Adython, he collaborates with Belgian artist Erna Frassens who wrote the words here (sung in Italian) and came up with the overall concept. Stefano Ferrian plays tenor saxophone while Attila Faravelli and Alfonso Santimone use computers and electronics to come up with weird, constantly changing background sounds. Ultimately the effect is that of improvised avant-garde electronic music with improvised singing and saxophone playing.

Claudio is equally at home in avant-rock, avant-jazz or any other avant-whatever. His musical and in general artistic vision knows no boundaries. Adython is an album that would appeal to those who enjoy improvisational music. Although he is now listed here under 'prog electronic' this is the most electronic thing I have heard from him; some of his other music and projects can be closer to (avant) classical or (avant) jazz. I don't speak Italian but the way the vocals are used to recite the lyrics makes it seem that it doesn't matter what is being said to begin with; it's all in the delivery.

There are only two tracks on this album. To me the over 32 minute title track is the stronger of the two. Overall the whole album has a sound and feel of its own. I congratulate Claudio on this fine release and it is nice to know that there are still those artists who wish to push the envelope even if they know that not many will pay attention. This is music that is 'beyond prog' if you will, challenging and innovative yet may appeal to the more adventurous prog fan. I'll give this a 3.5 rounded up to 4 stars.

Review originally written for www.jazzmusicarchives.com

Listening to Claudio Milano the first instinct is to compare his voice to that of Demetrio Stratos, not only because Area are one of his many collaborations, but specially because his experiments and researches on voice, even though on a different line, can remind to the experimental works of that unlucky singer.

The contact point is in the theathrical mood of works like this "Adython". This is a kind of music that needs to be corroborated by a live experience like a ballet. When listening to "L'Oracolo di Delfi" Imagine how the crescendo of chaos and electronic noise that can be experienced at minute 7 can involve the listener if accompanied by a dance on a black and white stage. Just after this crescendo there's a short pause of silence and what follows is a song. The instrumentation is deeply electronic, but if you listen carefully what Claudio sings is a melody coming directly from the Italian artsy pop of the 60s, a sort of follow-up to the cover of "Vedrai, Vedrai" released some years ago. Let this music penetrate your mind, this is the key to disclose it. The noisy instrumental final of the track leaves the listener with a sensation of incompleteness that needs to fade into the second, very long, track of the album. Even if I'm Italian I don't pay attention to the lyrics. The sound of the words is here more important than their meaning.

The title track is opened by a very long vocal note. It's a dialog between voice and a jazzy sax which is quickly transformed into a very dark experiment, with the voice exploring the lowest and highest notes fused with breathes and various sounds. There's a huge use of loops in this part which slowly starts to capture the listener. At minute 4 let's pay attention to the vocal extension. Claudio Milano is capable of an incredible extension and when he does clean singing he shows also an excellent tone, vaguely similar to John De Leo. Here and there the sax goes in foreground and adds more than a touch of cold jazz. Also the story narrated by Claudio is somewhat interesting. It has a feeling of avantgarde theatre, Beckett comes to my mind for the atmosphere. At this point I can't say how much of this track is "improvisation". The text sung by Claudio can't be too improvised, maybe the sax but some unison moments and some vocal attacks are apparently clearly planned. Other than the voice, there's a lot of research and experiment also in the electronic noises and in the loops while the sax remains the only true "instrument" to link what we usually know as "music" and this experimental work. Of course, understanding the language can add a further level to the listening experience but like in the first track, the sound of the words is more important than their meaning that's almost dark and introspective. There's also a melodic moment, totally unexpected which comes after a short silence at minute 24 to demonstrate the artist's eclectism. Not an easy album, like all the avantgarde things, but this is exactly what makes it worth. As much effort you put in the listening as much pleasure you obtain from it. A mind opener

Claudio's most recent release is unlike anything I have ever heard. Basically we get his voice often manipulated along with a computer, sax, electronics and a laptop. If any of you have seen the movie "21 Jump Street" you'll remember the scene after the two undercover officers ingest drugs and the various stages they go through. At times you'd think they are going to just explode. Well this is like a soundtrack to a really crazy drug fuelled trip. We get two long tracks giving us just over 47 minutes of insanity.

We don't get very far into "L'oracolo Di Delfi" before it's understood that this is going to be an experimental journey into the mind of a psycho. Those really high pitched vocals followed by spoken words and vocal expressions are just mental. Atmosphere and sounds kick in before 3 minutes as he sings slowly. A repetitive beat after 4 minutes is intense including the vocal sounds. Relief after 5 1/2 minutes then more bizarre vocals follow. Intensity before 10 minutes, and then after 13 minutes it becomes apocalyptic. Incredible !

"Adython" opens with a vocal note then it turns all "Fear And Loathing In Las Vegas" on us. Deep atmosphere 1 1/2 minutes in takes over as horns come in too. What a trip this is. Heavy breathing after 9 minutes followed by a scream then desperate words. Paranoia. More horns and atmosphere follow. Vocals are back after 16 minutes. We get almost operatic vocals after 23 minutes. It sounds like mellotron before 24 minutes then vocals and horns follow. More deep atmosphere before 28 minutes. Crazy atmosphere and vocals 31 minutes in.

I really think this is just too much insanity since it's 47 minutes long. This would be amazing as part of an album. Also I wish the vocals were in English to know what's going on, although maybe it's better not knowing (haha).