FROM DULUTH TO MILAN

http://www.viniciocapossela.it:

“MARINAI, PROFETI E BALENE”
IL NUOVO ALBUM di Vinicio Capossela
in uscita il 26 aprile 2011 (La Cùpa/Warner)
il 27 aprile, da Genova parte il tour che lo rappresenta

Di ritorno dal suo “20 YEARS SHOW” che ha toccato oltre a Londra anche Parigi, Zurigo e Colonia, Capossela annuncia il nuovo doppio di inediti “MARINAI, PROFETI E BALENE”, in uscita il 26 aprile (La Cùpa/Warner), a tre anni dal suo precedente lavoro “Da solo”.

Vinicio Capossela partirà dal mare con il nuovo show fortemente caratterizzato dai temi del disco. Primo approdo sarà infatti Genova, al Teatro Carlo Felice il 27 aprile. Il viaggio proseguirà nei teatri di molte città italiane: il 29 aprile al Regio di Parma e il 3 maggio all’Arena del Sole di Bologna. Si sposterà poi al Palais di Saint Vincent di Aosta il 6 maggio. Dopo le due esibizioni di Firenze al Teatro Verdi il 10 e l’11 maggio, Capossela suonerà il 13 maggio al Teatro Ventidio Basso di Ascoli e il 16 maggio al Teatro Regio di Torino. Seguiranno due date al Teatro degli Arcimboldi a Milano il 21 e 22 maggio e il 23 maggio sarà la volta del Teatro Ponchielli di Cremona. La prima parte della tournée si concluderà all’Auditorium Conciliazione di Roma il 27 maggio per poi riprendere in estate con nuovi concerti che troveranno la loro cornice naturale nei luoghi di mare e del mito.

Marinai, profeti e balene è un’opera sul fato, sul viaggio e il mare come metafora e scenografia del destino umano. Da Omero a Dante, da Melville a Conrad, è un disco che trova ispirazione nella letteratura di tutti i tempi e in cui risuonano il mito, le voci di marinai, di profeti e balene.

Ecco le prime date confermate del tour:

27 aprile Genova Teatro Carlo Felice
29 aprile Parma Teatro Regio
3 maggio Bologna Arena del Sole
6 maggio St.Vincent (Ao) Palais
10 maggio Firenze Teatro Verdi
11 maggio Firenze Teatro Verdi
13 maggio Ascoli Teatro Ventidio Basso
16 maggio Torino Teatro Regio
21 maggio Milano Teatro Arcimboldi
22 maggio Milano Teatro Arcimboldi
23 Maggio Cremona Teatro Ponchielli
27 Maggio Roma Auditorium Conciliazione

….mi sa che faccio una capatina all’Arcimboldi…..

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poi si lamentavano dei prezzi u2 quando c’erano biglietti anche a 35 euro per il prato,bah!

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NME LIVE REVIEW: PJ HARVEY

Call it an imperial hangover if you will, but no-one is quite as bum-wincingly uncomfortable with the idea of patriotism as the inhabitants of England’s green and pleasant land. It’s different in the US, of course. Americans are never more in their element than while waving miniature flags, butchering ‘The Star-Spangled Banner’ and naming suspect pieces of legislation after the dreaded ‘P’ word. For Englanders, however, ‘God Save The Queen’ just conjures up images of a weirdly silent Gary Neville and a muttered agreement that ‘Jerusalem’ would make a better anthem anyway. Make no mistake, then: PJ Harvey’s decision to grapple with patriotism and the foreign fields on which it goes to die on ‘Let England Shake’ was a brave one.

A brilliant weave of musical styles and narrative voices attempting to get to the bottom of just what it means to be sprung from our drizzle-soaked land, we might just as well call it a day and crown it album of the year already. As such, tonight at the Troxy – the first of two sold-out shows in the capital – has the feel of a milestone in what is rapidly shaping up to be a career-defining year.

Backed with undertakers’ tact by former Bad Seed Mick Harvey, Jean-Marc Butty and long-term collaborator John Parish, Harvey appears stage left in black feathered headdress, a vision from the Arthurian mists under cabaret spotlighting. When she starts crooning the new record’s title cut, she seems to grow in mythical stature again; mock-childishly intoning lines about how “England’s dancing days are done” like some inscrutable crow queen portending evil to come. Perhaps she’s one of the birds that wheel ominously on the record’s cover — crows are sometimes said to circle battlefields in the hope of picking at carrion, and their association with death spans any number of cultures across the globe.

A whole raft of greatness from ‘Let England Shake’ follows: ‘The Words That Maketh Murder’’s wicked reverie swims horribly into view like Banquo’s ghost as Harvey cradles her autoharp. ‘All & Everyone’’s lugubrious, secular gospel recalls ‘Spirit Of Eden’-era Talk Talk, morbid imagery unfurling like black tongues licking at the venue’s nethermost reaches. Recent B-side ‘The Big Guns Called Me Back Again’ is cut from similarly quality cloth, a glimmering folk number that reeks of post-traumatic stress: “I hear voices singing, I hear the guns beginning”. ‘Written On The Forehead’ is made to thump harder than on record by Jean-Marc Butty’s expansive deployment of bass drum.

It’s a trick which does nothing to detract from Harvey’s deeply strange, allegorical lyric, a thing worthy of Dylan in his ’70s prime — and yes, we are enjoying being able to toss around such comparisons with conscience relatively untroubled. ‘In The Dark Places’ rounds out the initial volley of new songs, but in truth ‘The Devil’ – culled the underrated ‘White Chalk’ – slots in beautifully.

After that detour into the scary id places of Harvey’s psyche (plus a couple of oldies in ‘The River’ and ‘The Sky Lit Up’) it’s back to reaping ‘Let England Shake’’s rich fruits, and a stunning trio of songs that leaves us with goosebumps in places we never even knew we could get ’em. First up is the roiling, shoegaze rock of ‘The Glorious Land’, Harvey twisting her words with diabolical glee as the track builds to a gut-wrenching climax: “What is the glorious fruit of our land? Its fruit is deformed children”.

Then there’s ‘The Last Living Rose’’s deeply ambivalent ode, its brilliant imagery bookended by a bizarrely intuitive, ska-tinged sax solo, here rendered on keys. Most poignantly of all, ‘England’ begins with a naive festooning of “la-la-laa”s from Harvey, as if she’s trying to tap into something childlike, delicately suggesting links between the twin pulls of nostalgia and patriotism. The mastery of the material here is total, the rendering enough to bring a tear to the eyes of the stoutest of anti-nationalist zealots.

Somewhat inevitably, intensity levels drop a little after that, as Harvey lets a little of her back catalogue’s light in on proceedings. Rawk-fuelled renderings of ‘Big Exit’ and ‘Meet Ze Monsta’ sound more than a touch awkward in view of her rococo latter-day guise, but then again, it only speaks to Harvey’s uniquely focused approach that such complaints feel valid. Of the older stuff, material from her quietly introspected ‘Is This Desire?’ fares best; the aforementioned ‘The River’ and especially ‘Angelene’ provide welcome respite from the show’s heavier moments.

In the end it’s left to ‘Silence’, a mere slip of a track from ‘White Chalk’, to round out the show on a deeply mournful note. Then Harvey and her stellar company take their bow like a theatrical troupe — which is precisely what they are, in a way. Someone toss that girl a bouquet: Queen Harvey’s new show deserves to run and run.

Alex Denney

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