Francesco Fareri
Secrets Within

Music is not just made of notes or scores. Unfortunately, some people have understood this too late. Why am I now reviewing an album of pure shred? Because I believe it is educational and even instructive to let people know what not to do with a musical instrument, and what one should at least try to do when writing music.

Beyond the technical prowess, which, to be fair, can only be admired, surpassed by none, nor equaled. Because Francesco Fareri is certainly a great instrumentalist, endowed with an unbelievable technique, but incapable of writing pieces that, even for a moment, escape the shred world in favor of greater musical sentimentality. I say this because Fareri has accustomed us to two records of frenetic shred, bordering on the absurd: 'Suspension' and 'Forbidden Dimension' were two little gems in the world of hyper-technical guitar, but for those not accustomed to such musical extremism, that genre proves at times unlistenable. And I say this because this new “Secrets Within” is certainly a good album, for those with trained ears. But a true monstrosity for those who understand certain music as they would understand the language of a cockroach.

I appreciate Fareri: a humble and musically stubborn guy: he writes and plays what he feels, with great passion and professionalism. And he should be appreciated for this. And there is also a notable effort in crafting melodic lines and a greater melodic approach to his music, which this Secrets Within shows in a slightly veiled manner. Unfortunately, the attempt to make his music more “listenable” remains futile. And I find myself hearing surges of notes upon notes. And even the acoustic part of the work remains a poorly executed attempt. Do not confuse this genre with the more classic prog metal. There's little prog in this double album, because everything remains in the constant search and flaunting of technique, typical of a genre like shred.

The Roman shredder articulates his technique through tracks like the title track, “Secrets Within”, which is a classic ultra-fast track, full of sweeps and lightning-fast alternate picking, further enriched by the keyboards of Vitalij Kuprij, guest of honor and a relative shred counterpart on the keyboards. The track is articulated between small melodic parts but always remains in this context of ultra-technicality which might seem very self-serving if one didn't know the artist. “Circles” plays more with odd times and the classic artifices of progressive rhythms, but they are 8 interminable minutes, full of atmospheres lacking sentiment. These are the first two tracks and the situation completely declines in the following ones. Fareri loves technique and demonstrates this decisively and tenaciously in the following “Lies” and “The Waves”, the latter being a fairly predictable track. These two tracks are instead interrupted by an excellent piece of clean guitar. An experiment that Francesco often includes, and this time, in a more intimate dimension, it goes better: “Sonic Garden” represents the artist launching into small tapping parts, creating a very good soundscape full of delay and echoes that render the atmosphere sometimes ethereal and dreamlike. We return to the frenzied pace with “Destiny” and “Liquid World”. Two excellent shred tracks, for those who appreciate them. “Present Glow” is an unnecessary electric bass interlude, which I sincerely found unnecessary, before plunging into the compositional oddities of “Scenes”. It closes the first part of the album to reach what seems to be the most melody and emotion-laden part Fareri has ever composed.

If the first part, as titled, was “Into the Dark Line”, this new life of the guitarist is titled “Out of the Dark Line”. He leaves pure shred to enter a world made of piano and acoustic guitar. “Parallel Lives” opens the dance. But the acoustic guitar is heard very little, to the advantage of piano arpeggios (played by Fareri himself). A track that left my interest unfulfilled. “Wood of Silence” continues this keyboard line, with the total absence of acoustic guitar. Certainly, to be fair, this makes everything more interesting and creates a strong antithesis between the guitarist and the pianist, but although there is a strong melodic interest, this supposed melody does not find adequate development. “Masquerade” takes the acoustic guitar to more suitable grounds, but unfortunately, Fareri's acoustic work is not very good in my opinion. “Undefined” is a track supported by the only acoustic, not very good in my opinion, evocative though: good arpeggios, not very good some solo lines. Nothing exceptional before soon returning with “Seasons” and “Secret World” to worlds made of only piano, not well developed with good ideas used not entirely well.

A tiring and whirlwind journey into Fareri's art comes to an end. If this young and incredible guitarist is to be appreciated for his enormous technical skills, I cannot say the same for his musical work, which, even today, seems increasingly strange and at times really uninteresting to me. The effort is there, there is a strong study in making his music interesting, but this search, so far, has led Fareri to create something that remains always similar to itself, devoid of real developments that deserve a loving listen.

After all, he's a shredder, and as such, the listening is recommended for those who love the genre.