Alessandro Seravalle: Claims himself proudly self-taught in musical composition!

When I say that there are musicians who are commercial and have no artistic valence, many are offended at me! Well, today we are going to concentrate on those who are really passionate about their music, who are dedicated musicians and who are really great artists who have an enormous amount of good music to contribute. There are many such passionate souls and artistic souls around the world! Today we travel to northern Italy today and to Alessandro Seravalle who is obviously a great and very talented musician.

Alessandro Seravalle  graduated in philosophy with a paper on Emil Cioran and he’s been active for over twenty-five years in the musical scene as composer and player. Some of his compositions were premiered on two different editions of the Festival for Contemporary Music Luigi Nono in Trieste.

Leader of the band Garden Wall, with whom he released eight records so far, ha claims himself proudly self-taught in musical composition. The struggle against every form of cliché is the trademark of his expressive research. He started an experimentation course within the realm of progressive rock as guitar player, singer and electronic sounds manipulator. Parallely to the Garden Wall activity he’s developing new forms of musical language with several projects:

With his brother Gianpietro Seravalle started a duo (Officina F.lli Seravalle) dedicated to a form of experimental new-psychedelia with a pronounced electronic feature with rock music contacts. Their debute Ûs frais cros fris fics secs was released by Zeit Interference in summer 2018. The following year the same label released Tajs! In 2021 the duo released Blecs.

With the album Logos (2010), he started Genoma, his innovative solo project whose second chapter, entitled Silenzioso, has been released in winter 2014 by Zeit Interference.

In Schwingungen 77 Entertainment he inter-crosses his guitar with Andrea Massaria and Enrico Merlin’s ones on electronic substratums of his ideation (their first record, entitled Act I: notes in freedom, was released in summer 2014 by the well-known italian avantgarde label Setola di maiale).

Another ensemble with Andrea Massaria is James Frederick Willett: improvisation, electronics and political  lyrics in which the two guitar players are accompained by Alessandro’s brother Gianpietro Seravalle (electro-sick grooves) and the author of the lyrics, the philosopher Raul Kirchmayr. Their first record was released by Setola di maiale at the end of September 2017.

Seravalle and the performer Gianni Venturi agreed to call their project devoted to experimental electronics, sound poetry and critics to the current western socio-political order Qohelet, their debut cd has been released by Lizard records.

Il testamento degli arcadi is a sort of “back to rock”. It’s a project inspired by the sci-fi series Space 1999 where progressive rock, space-rock, ethnic influences and ambient moments melt together. Their debut album has been released in 2021.

During 2021, after been a guest musician on a previous album of theirs, he entered the collective Autostoppisti del magico sentiero led by the bluesman Fabrizio Citossi.

In the coreutic-visual-musical experiment named Agrapha Dogmata he’s flanked by the cellist and singer Mariano Bulligan, the percussionist Ermes Ghirardini, the dancer Laura Della Longa e the visual artist Luigina Tusini. The ensemble will be in studio for the recordings of their debut album during 2017.

SeTe is a research music duo, in which Seravalle co-operates with the multi-instrumentalist from Modena Carlo Sebastiano Tedeschi. Bandcamp hosts their first work entitled “The book of job”.

Setola di maiale released in 2016 a work under his name including his first five Morphocreations (an expression from Henry Michaux), some sort of aural solliloquies centred on a sculptural-improvisative conception of sound.  Zeit interference released in October 2017 his solo electronic concept Spielräume. Both these works have been released under his own name.


Garden Wall:

Principium (Wmms, 1993)

Path of Dreams (Wmms, 1994)

The seduction of madness (Wmms, 1995)

Chimica (Wmms, 1997)

Forget the Colours (Mellow records, 2001)

Towards the Silence (Mellow records, 2004)

Alien(a)ction (Mellow records, 2007)

Assurdo (Lizard records, 2011) and the track Re-Awakning,

Officina.F.lli Seravall:

Ûs frais cros fris fics secs (Zeit interference, 2018)

Tajs! (Zeit interference, 2019)

Blecs (2021)


λόγος (Ma.Ra.Cash records, 2010)

Silenzioso (Zeit interference, 2014)

Schwingungen 77 Entertainment:

Act I: notes in freedom (Setola di maiale, 2013)

Alessandro Seravalle:

Morfocreazioni I-V (Setola di maiale, 2016)

Spielräume (Zeit interference, 2017)


The book of job (Bandcamp, 2016)

James Frederick Willetts :

James Frederick Willetts (Setola di maiale, 2017)

Il testamento degli arcadi :

Il testamento degli arcadi (Lizard records, 2021)

Recording Appearances as guest:

Pathosray – Same (Sensory records, 2007)

Il fauno di marmo – Canti, Racconti e battaglie (Andromeda relics, 2013)

NichelOdeon/InSonar – Ukiyoe (Snowdonia, 2014)

Massa Sonora Concentrata – Boe (Setola di maiale, 2015)

Paolo Volpato Group – Contro (Lizard records, 2020)

Autostoppisti del magico sentiero  –  Pasolini e la peste  (New model label, 2021)

Visionoir – The second coming (Revalve records, 2021)

Om Ulf Backstrøm (6734 Artikler)
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.
Contact: Hjemmeside

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