Carlo De Filippo
Di Indomito Incanto

“Of Untamed Enchantment” is a timeless album. An album like few others, capable of revealing all the fallacy and immateriality of our era and soothing the human soul with a poignant melancholic caress. The author, Carlo De Filippo, already involved in the “Oniric” project, embarks on a solo project that sees him as the creator of revealing and cathartic music, with original sounds and melodies, influenced by Tiersen and with a nostalgic drive, common notes even to the very soul of the young author who does not fear unveiling his “veil of Maya.” Guiding the listener into a liminal and mysterious dimension is “Del Perduto Eco,” the first track of the playlist, which acts almost like the “Charon” of the mystical journey undertaken by the listening spirit: band-like percussion and poignant choirs coming perhaps from some lost time, voices destined to chase each other endlessly, muffled and covered by a veil of inexplicable regret; all leading to the philosophical awareness of the perpetual repetition of seasons and with them the souls inhabiting them, irreversibly trapped in an unyielding “Eternal Return.” The Nietzschean momentum is found also in the following pieces: the author, a skilled narrator, represents it for us in a sweetened version and as if subdued in the delicate melody of “Indomito Incanto”, the third piece and the source of inspiration for the album's title: the spirit, after the initial dismay, finds itself mature and serene in the light of a new awareness and almost quenches its thirst in an unexpectedly optimistic closure. It all proceeds through the seductive and romantic passages of “Estatico imbrunir”, in which the melody, timid and sensual, seems to pose new questions to the listening soul and “teases” it, just as a man attempts to seduce and corrupt the modesty of a young and inexperienced woman. Passion finds its climax in “D’Impetuosa Mescolanza” where desire first creeps in uncertain and awkward (rendered by the initial glockenspiels), only to explode in a swirling crescendo of animation and passion with decisive strings and bold percussion; the notes refer to an ancient re-found union, to the dance of two spirits, unaware for who knows how long of their original belonging, now reconfirmed. A different eroticism, on the other hand, emerges from the slightly more nostalgic notes of “interludio d’arcano moto”, whose melody, however, gradually turns into a play of impudent complicity and almost childlike, almost naive sensuality. It is surprising how, with the continuation of the tracks and notes, new scenarios open up, so familiar, which are nothing more than new landscapes and places of the Spirit, the human one, tormented by definition: as emphasized by the melancholic waltz found in “Di Quei Meriggi, or by the tremulous strings and the heartbreaking melody of “Talune Nostalgie”. The intentions of the next pieces are more fleeting and immature: “Attimi,Imminenti” and “Attimi,Fuggevoli” are probably of older origin, deriving from a more awkward and instinctive melancholy of the artist, immediately dismantled by the audacity of the harpsichord in “Struggenza in Re minore”, which seems to transport the listener to the 18th-century opulent courts of Enlightenment France. A delicate fog, a “Velo d’Oblio” wraps the Spirit, almost content, and an ethereal voice consoles it in “Daffodils”, the only sung piece, inspired by Wordsworth's poem of the same name: finally, a timid “Rugiada” settles on it, wetting its eyes, moved as it rests on the petals of nocturnal flowers when a new day approaches and gradually banishes the traces of just-surmounted darkness.

The Dantean journey offered by the album and its artist manages to stir the listener not only musically but in a broader spiritual and sensory sense, guiding him into a liminal, dreamlike dimension, managing to traverse the conscience and sensitivity of all those who find “joy in sadness,” who find answers “in endless doubt,” who find rest in the ecstatic and swirling motion of artistic Beauty. However, the melancholic attitude of the sounds and artistic soul are not ends in themselves: they lead, as in the Dantean journey, from Torment (the damned choirs of “Del Perduto Eco”) to Bliss, from the infernal flames to “All’Indomito Incanto”, precisely, that is to the awareness of an ancestral and ever-renewed hope.