Sig.Sapio
Acufeni EP

It seems quite common for "independent" singer-songwriters to hide behind the strangest names. Andrea Nannerini produces "sociophobic" music, which he has shared exclusively with a few friends since 2002. Presented jokingly like this on a friend's site, Andrea Nannerini is much more than a promising young man, and apart from his participation in the Ghirigori compilation (alongside OvO and others, produced by Pezzente musical productions) with the track "Bianca," there is hope that he will continue to make a name for himself.

"Acufeni" (self-produced) is a great leap forward compared to the first demos (a raw style that often tended toward chaotic lo-fi) and in the seven tracks offered, recorded over this past year, it's interesting to see the artistic - and practical - evolution of the young musician. "Zeko" almost seems to shape a dream, a distant memory, as if caressed by the waves of a wind-filled sheet, where the singing is more an instrument in itself or an off-screen voice than the true protagonist. It almost feels like lying on an intangible electronic sound carpet. For a first attempt, it's unexpected, yet it succeeds in creating in less than three minutes a truly strong evocative atmosphere, with relatively sparse instrumental support (Sigur Ros comes to mind, but more due to associations of ideas than actual similarity). "Bianca," dated July 2004, is the most stripped-down track on the CD (synth and voice) but probably remains the darkest and most emblematic point of the entire work. "I will recognize you, white trail of pain in the night behind the dance of a soft caress. The trees that do not break bend until they reach the point where they cannot be heard breathing." One can't deny that it's hit the mark again. Even if it seems that the six minutes of the track risk stretching the very strong climax too far. The doubt that all this tension in "Bianca" makes no sense, as it doesn't resolve into any "explosion" or evolution, is - perhaps - a possible interpretation. A more poetic than technical interpretation, but I think it will always remain a subjective matter with a big question mark.

The instrumental "Zolfo" - yet another atmospheric track - can be likened to a description of a landscape (programming and keyboards teetering between Kid A by Radiohead and the more Bjork-like Matmos) but the absence of voice unfortunately demonstrates the evident inability to develop an idea in other directions beyond that of an initial inspiration, which, nonetheless, is not dirty water, to be clear. "Xalkididòs" is instead an improvised version of "Bianca." Interesting, though not very engaging, considering the context in which it was recorded with the pianist Giovanni A. Sechi was supposed to be a jam session of a completely different caliber. With a classical guitar in hand (as Mediterranean as it is Microphones/Mount Eerie) the complex melody of "Mercurocromo" is enriched by unexpected bursts of drums (a scenic connotation more than successful) and samples on the edge of cacophonous that recall the sonic tour de force of Xiu Xiu. The appearance of the voice and additional guitars, lost in reverbs and delays, further confuses the listener, overwhelmed by the sounds and words: "I cling to the earth with all of myself." The apparent chaos of this track, the most experimental of the collection, is definitely the confirmation of an eclectic talent open to the search for new communicativeness.

Andrea Nannerini is fully in control of his artistic background and uses it in his own unique and original way in his compositions. To this first attempt, we can only tip our hats, and eagerly await... another.