NichelOdeon: This is not an album…..

NichelOdeon - Incidenti-​Lo Schianto

Today we are going to Italy and to one of the most distinctive, talented and original musicians on the planet Tellus!

Claudio Milano is composer, vocal researcher, actor, painter from Italy, and the band NichelOdeon is his brainchild! NichelOdeon is an avant-garde project between music, theatre, vision to explore the expressive and formal possibilities of a music without a definite era and latitude. Milano is a very dedicated and active musician and the album Incidenti-​Lo Schianto (Accidents – The Crash)is his thirteenth releases, but now under the NichelOdeon moniker.

The distribution of the CD (out from last September 11) on an international scale and the relative press kit they have been conditioned by the current global situation. But now, the time has come! «This is not an album, it is like a television series where the paradox becomes real (Black Mirror) ».

This majestic work actually includes 44 important Italian musicians from all backgrounds: ancient and contemporary classical music, rock in all its forms, jazz, ethnic, folk, electronic music – including the Italian legend Paolo Tofani, Area International POPular Group’s guitarist and Vincenzo Zitello founder member of Il Telaio Magnetico, the famous Italian soprano Laura Catrani).

 The tracklist.

1. Not Me – Non Esistono (Senza Valore #1) 03:31

2. NichelOdeon – How Hard Tune! La canzone dei soli (Senza Valore #2) 02:38

3. This Order – Variations on The Jargon King (Senza Valore #3) 05:22

4. NichelOdeon – Il Barbiere degli Occhi (Senza Valore #4) 07:36

5. Not Me – Con Dedica (Senza Valore #5) 02:55 6.

Not Me – Senza Ritorno (Senza Valore #6) 03:22

7. NichelOdeon – La Scatola (Senza Valore #7) 06:49

8. NichelOdeon – L’ultima Sigaretta – Fantasmi ad Argun (Senza Valore #8) 05:22

9. NichelOdeon – Idiota – Autoritratto (Tadzio’s Death – Senza Valore #9) 02:42

10. This Order & Coucou Sèlavy – Ho Gettato mio Figlio da una Rupe perché non Somigliava a Fabrizio Corona (Senza Valore #10) 12:11

11. Not Me – Sabbia Scura (Senza Valore #11) 04:11

12. Not Me – Del Mondo Gli Occhi – New Moses (Senza Valore #12) 01:03

13. InSonar – Nyama – Gettarsi Oltre (Senza Valore #13) 10:10

14. NichelOdeon – La Montagna e il Trono (Senza Valore #14) 05:17

15. Not Me – Out Let – Viae di (s)PHjga (Senza Valore #15) 03:36

 Videoclip single (13 minutes. Conceived as a performance by Cp. Mordecai Wirikik):

 For an overcoming of anger!

« … despite of my previous works when I looked for a fusion of popular and classical/jazz/avant elements, in this case I look for the clear contrast between elements. The record is about conflict, about the end of an era. I therefore wanted not to create continuity but a spurious form, a form where elements (melody, harmony, spatial organization, structure, theater, music, styles) met but also fought with each other. I wanted to create “a breaking album”. Hysterical, dramatic, rarely elegiac. I am very interested in the contrast between the linearity of pop rock singing (although I use more vocal registers – from Tuvan singing to treble and whistle register) in perfect contrast with atonal, twelve-tone, cacophonic harmonization’s».

«Everything is composed on paper, in the old way, to accentuate the surprise process that arises from the free flow of the interaction of different melodic lines intended as different planes of perception. This is a record about the idea of the existence of multiple planes of perception derived from altered states of fear, anxiety, terror, isolation».

«There can be no continuity in the solutions when you believe you have to escape (from a concentration camp, from an attack, from a war. All things told in this album) but the intention remains the same».

Lo Schianto, the projects, the contents

Not Me

Contemporary music project born in Puglia in 2018.

Classical music, but with attention to electricity, electronics and global languages. All the topics covered by the project are social and libertarian. The tracks are articulated in short times as in small lied and short compositions of music for virtual orchestra, little ensemble, or by single voice over several octaves range. Balance, composure, harmony, like “haiku”, despite the use of a “tonal and atonal harmonic system at the same time” (Polystylism, all that can be useful for my own expression).


Expressionist theater-music project born in Milan in 2007. Dressed in contemporary and “exploded” form-song romances, it uses every language deemed useful: ancient and contemporary classical, new jazz, global ethnic music, folk music, electronics, rock in all its variations. The topics dealt with are a very intimate diary in the name of Claudio Milano and they often discuss philosophical, religious topics, as well as violent social and political tension, autobiographical themes, in a psychoanalytic statement. The project is based largely on the direct interaction in recording studios of a chamber rock ensemble, which has changed face and geographical locations (Italian regions Lombardia, Lazio, Puglia) of belonging over more than ten years of history and welcomed contributions from some of the greatest talents of the Italian underground and avant music from the 60s to today.


A project founded with the Venetian multi-instrumentist/“non-musician” Marco Tuppo in 2011, it’s extremely flexible in its use timbre of instruments and human voice. While rooted in the electronic environment, this adds acoustic “colorful sound” suggestions, ethnic and electric cosmopolitan, as well as unusual tools (theremin, Onde Martenot). The lines of the songs often resort to nursery rhymes and in the lyrics they are children in the first person talking, turning daily horror into wonder. Another theme addressed is that of mental and physical travel. InSonar is mainly a “networking” project developed to the nth degree to welcome contributions from musicians from around the globe, some of which are true legends.

This Order

Gothic and theatrical avant metal project, to accommodate every subgenus of the phenomenon. It lives a balance between minimal geometries derived from historical avant-gardes, dark-wave / stoner / math rock and progressive maximalism. This Order was born in 2015 in a small town in the Taranto hinterland, Fragagnano, thanks to the collaboration of former members from the dark wave band Karma in Auge and Claudio Milano with the active collaboration of Italian musicians from different backgrounds (participated in the concept by recording contributions from studies scattered throughout Italy), including Paolo Tofani, former member of Area International POPular Group.

Each of these projects has in common the desire to create new identities of sonic languages, come on structured and elaborated cultural references in summary; shares the courage and willingness to propose music for urgency and communicative need, but without economic evaluations to direct the choices; accepts interaction in a performative context, with every recognized and unrecognized artistic forms. The knife thrown at a target shooting, intended as a necessity of choice but also as a danger, responsibility, is the main symbol of the whole album.

The places, the times

A journey that tells about recording made throughout Italy between June 2014 and July 2019. Recordings took place mainly in Rome (BeSound Studio, Stefano Saletti’s private studio recording), Villa Adriana – RM – (3rd Ear Lab 3.0), Fragagnano – TA – (Karma Room Studio), Vedano al Lambro – MB – (Virtual Light Studio) and in dozens of private studios.

The themes and lyrics, the arrangements and the writing process

An album with the theme overcoming anger in an era of deliberate and legitimately aggression.

A long story / novel in 15-17 chapters, which after so many years (since August 2004, date of publication of my first solo album “L’Urlo rubato”), sees not only music, lyrics and pictorial cycle to define the artwork, but also the arrangements return to my only signature, with some welcome exceptions.

For the second time, the recording process started from the truly dangerous “a cappella” engraved voices. Arrangements written on paper and “in mind” (in a very old way, without any informatic support), to marry consonance, atonality, serialism, cacophony, alea, polyphony… to make staves explode definitely!

«The need to feel even more mine and true, something I offer to you today so that it becomes something else at the discretion of your sensitivity. Lyrics here are screams of butterflies against a sun that will give them light«C».

1) of those who die in a Chechen lager (“Non Esistono”, “L’Ultima Sigaretta (Fantasmi ad Argun)”; crossing a sea, the Mediterranean, or a river, the Rio Grande, which hopes interrupt roughly (“Senza Ritorno”, “Sabbia Scura”, “Del Mondo i Occhi (New Moses)”, “Nyama (Gettarsi Oltre) “: The Cycle called “You Legalized Holocausts”;

2) who dies without a kiss (“How hard Tune!”, “Con Dedica”, “Idiota / Autoritratto (Tadzio’s Death)”,” La Montagna e il Trono”): The Cycle called “Fatuous in Action – (Infatuations)”.

3) of those who die selling illusions that will not absolve them from solitude (“Il Barbiere degli Occhi”), without a roof (“La Scatola”), strangled by the deceptions of a language of a new Babel of the network (of the social networks, of the chats), that everyone makes strangers (“Variations on The Jargon King”); of those who slowly struggle not to die out intimately, because no, there is no more room for everyone, no more … (“Ho Gettato mio Figlio da una Rupe perché non Somigliava a Fabrizio Corona”,”Out Let – Viae di (s) PHjga”): The Cycle called “Obligation of Disobedience”.

Dedicated to the memory of Gianni Lenoci (Monopoli, June 6 1963 – San Giovanni Rotondo, September 30 2019),here involved with his unique passion ad genius, Enrico Ramunni, music journalist who for many years followed my path with loving affection and attention. Because today more than ever music requires guardians and where these disappear, with them it becomes more little hope that the whole idea of “counter-culture” will arrive to us.


 Claudio Milano: al vocal sounds (tracks 2, 3, 4, 5, 6, 7, 9, 10, 13, 15, 16), vocal noises and

reciter introductions (tracks 11, 12), screaming (tracks 12); backing vocals and vocal effects

(track 8), diamonica and piano (track 9), percussion (tracks 4, 16), synth (6, 13), field

recordings (tracks 4, 9, 15), electronics (13, 14, 15, 17);

Paolo Siconolfi: editing, mixing, mastering, sound designer (tracks 1 to 17), electronics

(tracks 2, 4, 6, 8, 9, 13, 15), field recordings (4, 11);

Erica Scherl (Le Violons Ingres, Interiors): violin (tracks 2, 4, 7, 8, 10, 11, 12, 15, 16);

Evaristo Casonato: oboe (tracks 2, 4, 7, 8, 15, 16), flutes (tracks 4, 7, 8, 16), contralto sax

(tracks 7, 16); English horn (track 16);

Paolo Tofani Krsna Prema (AREA International POPular Group): IPad (tracks 3, 16);

Vincenzo Zitello (ex Il Telaio Magnetico): Theremin Moog (track 4);

Laura Catrani (Teatro alla Scala): soprano (tracks 1, 14);

Coucou Sèlavy: one thousand voices/theatre (tracks 11, 12);

Dalila Kayros (SYK): extended vocals (track 15 from 06.07.089 to 09.01.140), field recordings

(track 14);

Cinzia La Fauci (Maisie): ghosts’ voices (track 8 from 00.43.081 to 01.25.495);

Stefano Luigi Mangia: extended vocals (track 15 from 06.09.782 to 07.12.642);

Massimo Silverio: lead vocals (track 8), cello (tracks 8, 9), electric guitar (track 9);

Paola Tagliaferro (Greg Lake): all mothers’ voices (track 8 from 0.11.371 to 0.32.362 and from

03.03.293 to 03.25.955), zither (tracks 8, 14);

Paola Tozzi: vocals (track 17);

Vittorio Nistri (Deadburger Factory): synth, electronics (track 15, 17), classical guitar (track 15), pre-edit (track15);

Stefano Giannotti (OTEME): synths (tracks 5, 9), electric piano (track 9), prepared piano (track 7),

drums and percussion (track 9), harmonium (track 9);

Gianni Lenoci: prepared piano (track 5);

Camillo Pace: double bass (tracks 13, 15);

Francesca Badalini (I Sincopatici): grand piano (tracks 4, 16), prepared piano (track 4);

Andrea Grumelli (I Sincopatici): fretless bass, bass guitars (tracks 2, 4, 15);

Andrea Quattrini (I Casi): drums, percussion, electronics (tracks 4, 7);

Stefano Ferrian (SYK): electric guitar (tracks 3, 15);

Raoul Moretti (Julia Kent): electrified harp (track 15);

Andrea Murada: self built percussion, percussion from all over the world (track 16);

Fabio Amurri (Crysalys): piano (track 7);

Pierpaolo Spirangle Caputo (Franco Battiato): electrified self-built ghironda (4-16);

Mimmo Frioli (Karma in Auge): drums, percussion, pre-edit, recording (tracks 3, 10, 11, 12);

Giovanni D’ Elia (Anuseye): bass guitar (tracks 3, 10, 11, 12);

Danilo Camassa: classical and electric guitar (tracks 10, 11, 12);

Mauro Corvaglia: electric self built guitar (track 3);

Domenico Liuzzi: tenor sax (tracks 3, 15), bassoon (tracks 15, 16);

Max Pieretti: synth – closing section (track 7);

Fulvio Manganini (Nefastis): stick (track 7);

Alessandro Palma: drums (track 16);

Ulisse Tonon (Quasar Lux Symphoniae): accordions (tracks 7, 14), electrified accordion (track 14), prepared piano (track 14);

Sisto Palombella: accordion (track 1);

Claudio Pirro (Pindaric Flight): electric and acoustic guitars (track 2);

Marco Lucchi: Mellotron (track 8);

Luca Olivieri (Yo Yo Mundi): glockenspiel (tracks 4, 15);

Lorenzo Sempio: guitars, guitar synth, noises & amp; effects (tracks 1, 8);

Jody Bortoluzzi: synth, suggestions (track 8);

Ivano Nardi: drums, percussion (track 15);

Franco Poggiali: synth (track 17);

Daniele Onori: electric and acoustic guitars (track 17).

NichelOdeon, Italy, music news, Paolo Tofani, Area, Vincenzo Zitello, Telaio Magnetico, Laura Catrani,

About Ulf Backstrøm (7437 Articles)
Mitt hovedfokus er musikk som er basert på progressiv tenking. Jeg er på ingen måte ensporet innen musikksmak, i likhet med intensjonen bak prog. Sjangerbegrepet er egentlig temmelig uinteressant annet enn til å gi en pekepinn om hva slags musikk det er snakk om i en anmeldelse. Jeg søker god musikk for å utfordre meg som lytter. God musikk til å trigge mine musikalske smaksløker, og til å sette i gang mine refleksjoner. Da er sjansen stor for at jeg utvikler meg og lærer, noe som bør være drivstoff for et hvert menneske. Fordi det å lære og utvikle seg er noe som tilfører livet en nødvendig porsjon "krydder". Slikt krydderet finner man blant annet i musikk. Ikke overraskende mener jeg at progressiv musikk har den fineste "smaken". På den annen side kan musikk med eller uten progressive elementer være godt nok til hverdags. Til fest derimot holder bare rendyrket prog! Må jo også få med at jeg rimelig kritisk, og jeg mener at det lages mye prog som er i beste fall uinteressant, og faktisk mye som er pinlig dårlig. Heldigvis oppveies dette av ekstremt dyktige aktører som for eksempel: Flower Kings, Mostly Autumn og White Willow, for å nevne noen tilfeldig valgte.
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