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Ecovanavoce resembles a descent toward the South, a ride of the soul through Mediterranean traditions, a trip headed to a music deeply inspired by the evocative sound of the dialect’s spoken word.


Viola da gamba, classic, baroque and renaissance guitars, recorders, soprano sax, percussions, and electric bass appear to transpose the hearty vivacity of words to an indefinite time, bringing them back to life by virtue of touching sonorities. Ecovanavoce is able to dive into the matter and infuse it with the creative impetus of enthralling music, which engulfs and pierces with melancholy, shining of flames and visions, blending in refined atmospheres. Even the singing exalts the dramaturgy of the texts, enriches the word assuming deep, grave tones, then dwindling down into sweet sighs.

This record is a trip towards the unknowable. The opening arbëreshë song gives voice to a Cry (Lamento) in the face of a dead body, naked and unburied; and then the sense of dismay because the beloved one, being identified in the text by “lu mè ciatu”, my breath, “has gone away”, as if, in its absence, life itself came to an end (Ventu marinu); the pervasive emptiness unleashes the desire of being absorbed (eaten) by the desired one in Pesce d’oro, an only vocal song with the mystic elegance of youth, to sedate the longing of a burning passion (Alla carpinese). What follows is a deep breath which rhythmically identifies the three crucial moments: the need for a small slit to pray (Preghiera), giving up to crying (Pianto), an instrumental piece that embrace like a farewell-hug and the sense of loss, that suddenly falls as a heavy as a stone, and that in the beautiful Fandango has the convulsive rhythm of affliction. What remains is the desire of drinking to forget (Ayyu-ha s-saqi), rocked by the wind (Dondola e gira), in front of a closed door (Tangu te lu suspiru), bewildered by the spell of a lost love that drives to folly (Canzone del sole e della luna).

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