vluxzuq Claudio Milano is an avant-garde vocalist and conceptualist who tries to bring together different arts such as music, visuals, stage, etc. He is one of the few artists today who is trying to do something new with his different projects (the Nichelodeon release from 2010 probably being his most well known work to date). He uses his voice as an instrument and recites the words (of his own or others) in a peculiar yet musical way.

On Adython, he collaborates with Belgian artist Erna Frassens who wrote the words here (sung in Italian) and came up with the overall concept. Stefano Ferrian plays tenor saxophone while Attila Faravelli and Alfonso Santimone use computers and electronics to come up with weird, constantly changing background sounds. Ultimately the effect is that of improvised avant-garde electronic music with improvised singing and saxophone playing.

Claudio is equally at home in avant-rock, avant-jazz or any other avant-whatever. His musical and in general artistic vision knows no boundaries. Adython is an album that would appeal to avant-jazz fans and to those who enjoy improvisational music. I don't speak Italian but the way the vocals are used to recite the lyrics makes it seem that it doesn't matter what is being said to begin with; it's all in the delivery.

There are only two tracks on this album. To me the over 32 minute title track is the stronger of the two. Overall the whole album has a sound and feel of its own. I congratulate Claudio on this fine release and it is nice to know that there are still those artists who wish to push the envelope even if they know that not many will pay attention.

lorentz-lethe After his experience with Nickelodeon, an ecleptyc avant-garde and theatrical jazz band from Italy, Claudio has been able to let his great talent emerge- not only as a versatile musician- but also as an exceptional explorer of all the stage possibilities (above all talking about the coreographic and dramatic aspects of the scene). Moreover the fine lyrics in Italian by Erna Franssens make this album so "desirable" for all the lovers of drama theatre!! Of course the complementary improvisational music, sometimes chaotic, in other circumstances well structured, is an example of a fine combination between progressive music and theatre, as long as the intelligent "catharsis" let our senses calm!! This is the specific case of "L'Oracolo di Delfi", but you can note all these features in the title track as well, where the vocal skill is characterized by such an interesting excursion by Claudio into the the lowest and the highest notes and it's never an end in itself. As a matter of fact there's a clever interplay with the sax, with his purpose to change colour to the composition, from the melodic "incipit" to the darkest tones, which is the speciality regarding all the Claudio's best music projects a-la Nickelodeon...the present work after all is well worth checking out, at least,for whom is not in the habit with this intelligent avant-garde music!! So I hope to find other reviews in the web, regarding all the works by Claudio!

octopus-4 Listening to Claudio Milano the first instinct is to compare his voice to that of Demetrio Stratos, not only because Area are one of his many collaborations, but specially because his experiments and researches on voice, even though on a different line, can remind to the experimental works of that unlucky singer.

The contact point is in the theathrical mood of works like this "Adython". This is a kind of music that needs to be corroborated by a live experience like a ballet. When listening to "L'Oracolo di Delfi" Imagine how the crescendo of chaos and electronic noise that can be experienced at minute 7 can involve the listener if accompanied by a dance on a black and white stage. Just after this crescendo there's a short pause of silence and what follows is a song. The instrumentation is deeply electronic, but if you listen carefully what Claudio sings is a melody coming directly from the Italian artsy pop of the 60s, a sort of follow-up to the cover of "Vedrai, Vedrai" released some years ago. Let this music penetrate your mind, this is the key to disclose it. The noisy instrumental final of the track leaves the listener with a sensation of incompleteness that needs to fade into the second, very long, track of the album. Even if I'm Italian I don't pay attention to the lyrics. The sound of the words is here more important than their meaning.

The title track is opened by a very long vocal note. It's a dialog between voice and a jazzy sax which is quickly transformed into a very dark experiment, with the voice exploring the lowest and highest notes fused with breathes and various sounds. There's a huge use of loops in this part which slowly starts to capture the listener. At minute 4 let's pay attention to the vocal extension. Claudio Milano is capable of an incredible extension and when he does clean singing he shows also an excellent tone, vaguely similar to John De Leo. Here and there the sax goes in foreground and adds more than a touch of cold jazz. Also the story narrated by Claudio is somewhat interesting. It has a feeling of avantgarde theatre, Beckett comes to my mind for the atmosphere. At this point I can't say how much of this track is "improvisation". The text sung by Claudio can't be too improvised, maybe the sax but some unison moments and some vocal attacks are apparently clearly planned. Other than the voice, there's a lot of research and experiment also in the electronic noises and in the loops while the sax remains the only true "instrument" to link what we usually know as "music" and this experimental work. Of course, understanding the language can add a further level to the listening experience but like in the first track, the sound of the words is more important than their meaning that's almost dark and introspective. There's also a melodic moment, totally unexpected which comes after a short silence at minute 24 to demonstrate the artist's eclectism. Not an easy album, like all the avantgarde things, but this is exactly what makes it worth. As much effort you put in the listening as much pleasure you obtain from it. A mind opener

The Truth An abrasive yet thoroughly enjoyable improv jazz record.

Claudio Milano never fails to create some truly avant and awesome music and this new Adython album is a great one. Somewhat in the vein of John Zorn, this wild and at times insane album consists of two long improvised pieces loaded with screaming vocal parts, wailing saxes and some truly eargasmic moments. It's creative beauty in music in the truest sense.

Now, while I enjoy this, the album would basically be a love-hate relationship with most. For many listeners, this would be too abrasive and too insane, but for me and others I hope, it is a wild ride. I had a fun time being surprised by how odd the record was initially but eventually it just sunk into my eardrums like most jazz records do. It was a very surreal experience.

4 stars, a listen never hurt anyone and the results for people like me are especially favorable.