Alessio Premoli – Even Silence Has Gone

8 Production
7 Composition
6 Mood
8 Instrumentation

Alessio Premoli describes his music as “an intimate, minimalist and essential atmosphere where all is focused around the sound of the acoustic guitar” and that is the impression we get when we lend our ears to Even the Silence has Gone. The guitar is indeed the central focus of each of the ten songs on the record. His influences centre around folk and acoustic guitar and we can sense at times the New Age of Don Ross (Three Line), the dark clean riffs of Opeth (Painted Desert) or the sweet and soft melodies of Neil Young (Untitled #1 intro). All of these influences are wrapped around a true sense of melody and musicianship that Premoli has definitely managed well.

Even the Silence has Gone is Premoli’s third album after Duemilanove in 2010 and Breather in 2011. From the beginning, we see a big step forward from his last two efforts. One thing that will impress the listener is the production of the album; the sound is much more clear-cut, each and every instrument is carefully mixed with its own particular sound and texture. With that,  even though the focus is still on the guitar most of the time, the attention is distributed  between each instrument and it makes the whole seem much more of an ensemble work than on the two previous albums.

RELEASE DATE: 28 May 2015 LABEL: Self-released

There are moments of great melody and skillfulness on this new album; the flute and cello in Hoarfrost surely is a high point, with a strong feeling that reminds us of Harmonium’s Et Si on avait une cinquième saison.  This is also the best example of some non-guitar amazing work; it is great to see other parts shine like this because we definitely hear all the talent there is around Premoli and sometimes, we wonder if the other instruments could have been up front more often on the album.

One thing that might also tickle the listener a little bit is the lack of coherence of the record. Sometimes, the switch in between songs, moods and influences is so strong that we have difficulties finding any guidelines in between songs. The acoustic guitar playing sure helps guide the entire process, but in the end, we end up more with a group of individual songs rather than a whole. The placement of the songs on the album might have something to do with this; An Ocean under the Ocean  and Breathe for instance, seems awkwardly placed and our focus starts to drift away at this point, even though they aren’t bad songs at all.

Another Place, the only song with vocal,is structured in a more standard way as a post-rock song with a clear-cut progression and some beautiful melodies,especially in a David Gilmour-esque finale. As the last song, it confirms us that, even though he might have lost us a little from time to time on the album, Premoli still has tremendous talent that he continues to explore in a variety of directions.

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