Guy Littell
Later

"Later", after, later. Never before, the old adage "Better later than never", listening to this record, seemed so explanatory to us. A work that is the sum of a lifetime of listening, a debut that lays bare, on one hand, the cultural/musical heritage of Mr. Guy Littell (alias Gaetano di Sarno); on the other, it offers us a body of wide-ranging and profound musical stories, reflecting the image, more mature than ever, of this young singer-songwriter or songwriter (if your music, like mine, favors Anglo-Saxon pens) of Neapolitan origins. It is somewhat challenging to discuss our local music scenes. Yet talent is not lacking, and the urban substratum of certain suburbs represents a primordial soup, from which it is easy for characters with stories to tell to emerge, shaped by familiar sounds and, as in the case of our Guy, fascinated by overseas sonorities. His is not a "dreaming of California" work.

"Later" is rather a musical autobiography and at the same time, a declaration of intent for the future. A work in the spirit of total "DIY", is a clear intent: to demonstrate how in the era of mass communication, a low profile constitutes the basis for more sincere communication, with music as the conduit. Beware, however, the execution of the pieces and the elaborate arrangements make "Later" a strongly layered record (a top-notch production work) with a "mainstream" potential, unmistakable in tracks like "Needed that call". A future single? An engaging electric ride, revolving around a simple yet captivating refrain. But after all, "mainstream", "indie", "lo-fi" are terms good just for corporate marketing. What matters is the listening!

The record grabs us from the first notes.  "One-two-three", recited by a voice that seems to announce a rocket launch, instead gives way to music, "Tired of Tellin", an acoustic guitar and a simple piano phrasing framing Guy's deep voice. The piece unfolds into an epic finale, and it wouldn't be an exaggeration to say it reminds us of certain post-rock Texan styles. "Within" and "The Nightmare Came", are electro-acoustic ballads that seem drawn from works by both Steve Wynn and the latest Eddie Vedder.

Hints of electronics introduce the airy electricity of "Kill the winter". "Black Water" pays homage to Mark Lanegan's works, with that "slow" pace, the deep and evocative voice, underscored by the wail of an electric guitar, reminiscent of Peter Buck from REM. "Small American Town" with its glorious - epic pace and a catchy refrain. A declaration of love for those immense pools of wonderful losers that were American provinces between the 80s and 90s; and why not, we like to think of it as a tribute to our local "losers" of urban suburbs. After all, in one of these, Guy is still taking his first steps.

"A Gifted Summer" is innocuously listenable, without leaving an indelible mark. The acoustic-electric scheme repeats in the powerful "What a War for my Soul", demonstrating how the album was conceived and built as a monolith, without changes of register or variations, typical of someone who doesn't have clear ideas. "Best thing ever" excellently closes an outstanding debut, leaving us imagining Guy embarking on a bright path. At this point, we could launch into discussions about the sounds, the many references present in the album, about Dylan, Young, Lanegan, Buckley, E. Smith, and the like. The truth is that none of this can distract us from the fact that the Neapolitan province has produced a true talent!  Ladies and Gentlemen.......here's Guy Littell!