"Andrea is first of all a friend; just to make clear that this can not be an objective review. On the other hand, can a review ever be objective? We met with Andrea on Facebook in 2015. As soon as I got to listen to some videos from his YouTube channel, I immediately said to myself: "how many albums has this guy recorded?". But, when asked, his answer was "I'm actually working on my first album". From which I understood I was dealing with a perfectionist, an attitude that I do envy in other people, being myself at the antipodes. As a matter of fact, months passed and then years and the album was still missing. I have often poked Andrea during these years, making fun of him for his "constipation", because of such a long delay releasing the album. About an year ago we finally met in person at an exhibition (Cremona Mondomusica), and we had a change to exchange thoughts and impressions. It is also thanks to him if I came back home from there with a Chatelier guitar. But, once again, no trace of the album yet. Finally, after a year of various adventures, setbacks, and the time to prepare some promo videos, the CD arrived up here in Finland where I'm still x-raying it to catch all possible nuances. And being Andrea, as I said, a perfectionist, the deeper I dig, the more I find. When we listen to a new record, we always try to compare it to other people's works, as milestones. From what I can read in the credits of the CD, I guessed right many of the influences that came to my mind: the soundscapes of Ralph Towner (and, as it happens, also Andrea plays nylon guitar and 12 string guitar), Joe Satriani's melodic and polyphonic tapping, and the unavoidable Michael Hedges, cited in some short but fundamental passages. One thing that could go unnoticed in this album is the very high technical content of most of the compositions. There is so much technique, but of that kind that remains inside the notes, that builds up music by remaining behind the scenes, never showing off, just like Andrea. Also the search for different tones is remarkable, going from his loyal 6-string Colombo acoustic, to a baritone guitar, from a 12-string Seagull (actually 11, having Andrea got rid of the high G string) to a classical guitar. In certain passages of the album, it does not even seem you're listening to a guitar, like when he draws African sounds echoing the kora of Ballakè Sissoko. Another similarity suggested by the listening - despite not being mentioned by him among his influences - is Egberto Gismonti (who has collaborated a lot with Towner), and more generally Brazilian music and rhythms. The recurrent use of the voice is also beautiful and original, a primordial singing without words that accompanies the guitar, instead of being accompanied by it. Finally, a note on women, both real and dreamed, that inspire sweetness, admiration, tenderness, nostalgia, but also revenge. There is a lot of life, both lived and imagined, that exudes among the notes of the whole album. Andrea asked me to tell which is my favorite tune on the album. I'm not strong in making rankings, I gladly leave it to others, especially in front of such a varied album, 40 minutes that flow easily, all in one breath. A pleasantly eclectic album: in none of the pieces I find a unique style, those elements that make some authors immediately recognizable at the first bar. On the other hand, there are recurring influences and techniques, the same basic ingredients but differently measured, which every time leads to surprisingly different outcomes. No Andrea, I cannot choose my favorite song, but I thank you for having finally given us this collection of beautiful music: it is really worth all the time I waited for it."

Matteo Cherchi

Finnish supporter