→ @AventinoMusic – @aventinomusic – FB: @LANZIADRIANO – IG: @adrianolanzi – Between shoegaze, psychedelia, post-rosck and dream Pop #TheCalling is the lastest instrumental, minimalist and experimental #guitarsolo album by #AdrianoLanzi, inspired by such artists as #RobertFripp, #BillFrisell, #Tortoise and #SteveReich

Between shoegaze, psychedelia, post-rock and dream pop

The Calling

is the latest instrumental, minimalist and experimental guitar solo album by

Adriano Lanzi

inspired by such artists as Robert Fripp, Bill Frisell, Tortoise and Steve Reich

Guitar as a medium to create the most diverse sounds, experimenting with effects, tools and different techniques: “The Calling”, new album by musician and composer Adriano Lanzi, is based on such groundings. « Completely on my own, I gathered compositional materials for electric guitar in a minimalist vein and on a meditative mood, often with psychedelic and post-rock connotations. Arpeggios were the starting point for almost every track, now and then using open alternative tunings, and later overdubbing melodic lines, with the bottleneck, the e-bow and other tricks. At times the guitar sound is heavily processed and transformed (by pedals or post-production effects) but the use of effects is generally minimal: a bit of tremolo, fuzz distortion, delays to enhance the less obvious rhythmical combinations, and a careful touch of reverb to let the notes breathe and increase a sense of ‘space’».

Strong of the example of Robert Fripp, Bill Frisell, Tortoise and Steve Reich, Adriano Lanzi takes us in a worldof dreamy sonic landscapes, sometimes melancholic and sparse, between shoegaze and psichedelia, post-rock and dream pop.

«The heaviest influences here are not only some of my favorite guitarists ( I could mention Robert Fripp and the less jazzy, more pastoral Bill Frisell, but even the more melodic side of a Sonny Sharrock, or Fred Frith), as I drew also on the minimalist-contemporary world, especially on the Terry Riley lesson. I took something of Riley’s “modular” approach, I slowed it down and tried to use it on the six-string instead of the keyboard instruments. ».

Out on Aventino Music, “The Calling” was entirely composed and recorded by Adriano Lanzi in his home studio, and mixed and mastered by Claudio Scozzafava.



Slow Dance”, the opening tune, is a very slow waltz that moves from a melodic first part in the medium register to a psychedelic rippling sequence of notes on the high strings.

Gea”is a gentle thought, a gift to a dear friend who was having a tough time when I was composing it.

Northbound” has a nordic, quiet atmosphere, it makes me think of jouney on foot in a winter, frozen landscape under a clear sky .

In “Twilight” I used two minimalist series of notes  always with Terry Riley/Steve Reich in my mind, and I overdubbed a few touches of slide and wah wah, somehow inspired by American Music Club, Mark Eitzel’s alternative rock band. Not for their songwriting style which of course is not taken into account in an instrumental work, but for their ability to have a deep emotional impact by building up very deserted, almost “naked” sound palettes.

With “Globe” I went for the most crystal-clear touch I could be capable of: the track comes straight away from a meditation experience I had. I visualised a shiny, pulsating globe that grew bigger and bigger, it ended up by absorbing me and most of the physical space which surrounded me. A very strong experience, albeit not in an unsettling way.

Thawing of the river” has a two-part structure again: the first is a straight melodic exposition and the seconda very gradual crescendo of small obsessive riffs. I tried to draw, as a one-man-band in this case, on the lesson of Tortoise, a post-rock band that I adored throughout the 90s.

The perfume that is left” is a very, very naked track, a chimey, bell-like guitar, with an exotic/eastern flavored middle section.

In “Presence”, I overdubbed a slightly out-of-key fuzz box line to a a very clean and otherwise fully consonant chord sequence: trying to bring the feeling of soemthing which is “present” and mildly menacing, no matter how you try to ignore it.

Spiral of stone” is my “jig”, my version of a very ancient dance, and it is based on a scale which has a celtic-galician tinge to it.

On “The Calling” I went wild with an alternative open tuning – I couldn’t even recreate it now! –  and it’s a ripple of looped harmonics on top of which I improvised a melody with a slightly distorted sound.

Blossom” is a bit of a departure from the rest of the tracks, being based for once not on arpeggios or single-note lines but on the use of extremely sustained chords.A guitar that tries tries to function as a synth pad. With the delays, I tried to get the chords collide and glide into each other in unpredictable ways.

Dream Sequence” is once more based on an alternative, not-standard tuning.I juxtaposed and arpeggio (slowed-down as much as possible) to little embroideries of notes on the high strings .It has a dreamy, luquid movement, the ideal soundtrack to an old dream of mine in which I was walking unnderwater, at the bottom of the sea, with no need of breathing.

Refractions” is like “Blossom”: a guitar which is “ transfigured” by the cumulative effect of reverse delays and long reverbs. I wanted to get a “synthetic” sound without resorting to the guitar synth, pushing the use of conventional guitar effects to the extremes instead.



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