A 'lost reality' from the '80s independent scene. Excited and inspired by the poetry of Baudelaire, a poem contained in "Les Fleurs du Mal", which they name, and the Post Punk Gothic atmosphere of the early '80s, the young people MASQUE born in Milan in 1979 from an idea by Edgardo Moia Cellerino (guitarist, singer and songwriter) and Tiberius Boncristiano (drums), both founders of the first core training, which has experienced several changes of musicians both incoming and output, as regards the use of bass, keyboards, piano , Saxophone and clarinet. Just
the most fascinating of French poets (at least in the Dark Wave) and the dark throb of sound British Post Punk array, 'combination' rather then in vogue among the younger formations 'independent', determine the imprinting of the group and define fully the poetry in the years to come, with texts and decadent twilight, entrusted to the leader Moia Cellerino, supported by music played brilliantly, and after, perhaps the most successful in their records, they move away from both the Rock is the traditional canons of style 'singer-songwriter', to shape melodies and original arrangements, and almost more intimate 'chamber', the emotional impact. The Pima
incision group Milanese, is self-produced cassette entitled "Trouvailles pour Comediens" in 1983, all six songs sung in English despite the title-speaking, followed by a busy concert and the first record, "The Happy Flock "a beautiful ep of 1984, containing three songs with text always in English, printed by a small label of Savona, the Mask Productions.
In 1986, thanks to the historic India-Label sound recording, released another very nice EP entitled "Talk," which includes three songs and an instrumental album that represents for them the final step to the Italian language.
The text of the title track is played, estratto dal lungo poema del 1906 , "Un giorno" di Carlo Vallini , che assieme a Gozzano e Corrazzini fu tra i principali esponenti del movimento poetico 'Crepuscolare' del primo '900 Italiano .
Nel Novembre dello stesso anno partecipano al secondo 'Meeting delle Etichette Indipendenti' , che si svolge a Firenze e viene trasmesso in diretta nel programma 'Stereodrome' , in onda su Rai Stereouno .
Proprio in questo periodo vengono notati dalla EMI che nel 1990 pubblica il mini album dal curioso titolo "Il Signor Gustavo Coscenza" , sei brani dove spiccano "Le terre di Monluè" e "L'uomo felice" , canzoni che riportano alla memoria alcuni grandi della Canzone Italiana come Luigi Tenco .
Prodotto da Angelo Carrara , vengono abandoned altogether 'moaning sound' of Post Punk black for a more mature 'Chanson' just tinged with Wave, so that Le Masque to participate in its sixteenth edition of the 'Premio Tenco', achieving a remarkable success by critics.
In 1991 he published "The Memory of Venus" (Music for Target), their first real longplaying, with some truly remarkable songs ("Makrya", "The Beautiful Summer" and the title track at all) and embark on a strenuous tour concerts in major Italian cities. In 1993
are named in the Italian Encyclopedia of Rock, published by Arcana volume publishing, where it is emphasized the originality of their proposed musical.
In 1995 he published "Le Masque" (No Way Records / Sony Music), where the group tries hard with the 'great leap' and leave the public 'niche' that time he had celebrated.
The album in question is quite controversial, the songs are 'coated' arrangement of perhaps up to date, but sometimes' inappropriate 'to the nature of the songs and lyrics of Cellerino, as always centered on the themes of loneliness,' inadequacy. Eleven tracks of pleasant
Pop, Techno Pop at times, some even almost dall'incipit 'houseggiante', presumably with the 'Proustian' "Marcel" as the forerunner in business, also the cover of "La Banda".
E 'right to recall that In concerts of the period, The Masque detach from the 'mistakes' of the record production, returning to the songs and their true inner nature, by demonstrating to be excellent musicians.
In 1997, the UPR (distributed by Sony Music) published the single "Dandies," including the title track and a cover of "Legend of Christmas" by Fabrizio De Andrè, is the beautiful "All we died with difficulty" of 1968, the second album in the studio of the great Genoese, in turn inspired by "Le Père Noël et la petite fille" by Georges Brassens.
In 1998, The Masque publish "From the Diary of a glass blower" (released on Fire Records and collaboration between the Eibon Amplexus), a beautiful anthology includes material produced from 1994 to 1998, some versions recorded live at the Premio Tenco, and a new "The Long Night of Gianni", dedicated to the late fashion designer Gianni Versace.
In 2003, after several years of silence, thanks to Snowdonia (excellent independent label, in which the team are very good Maisie), Le Masque project returns with the album "The Years of Globiana.
The album maintains strong roots in the Italian songwriters, and stays with the group's last official production Lombardo, excluding the recent reissue 'expanded' output in 2008 ("Interview") and future (with the twelve inches " The Happy Flock "and the first cassette rare '83, assembled insieme) .
Nel 2009 il cantante del gruppo Edgardo Moia Cellerino , oltre ad aver partecipato nuovamente , ma come solista , al celebre 'Premio Tenco' , ha pubblicato un altro importante compendio sonoro , dal titolo "L'Amore che gira il Mondo" , raccolta a suo nome , di brani tratti dal materiale prodotto dai Le Masque , uscito tra il 1995 ed il 2003 (includendo anche i brani del singolo "Sai" del '99) e la title track , canzone nuova ed inedita .
Una formazione quella dei LE MASQUE che fu valorizzata all'epoca (vari rinomati magazines del periodo , quali Rockerilla , Buscadero etc ...) ed attualmente molto poco viene ricordata , per non dire 'rimossa' mentalmente .
Asserendo ciò , mi riferisco soprattutto the public 'indie' back then, which has perhaps never 'forgiven' turning their musical and linguistic (public audiophile forty-years, of which I was / am one, with 'cap in his ear' in some cases, more often when it came to our own artists, to put it as it might just do the wise and great Whittaker "... what if ... 'indie' and sing Italian ... must ... just do the Rap," to figure ...), although these ex-boys have made great songs, while not taking advantage of those economic badget deserved, even if passed to the majors, considered a 'bet' at risk, if not lost.
Now, in my small way, justice is done.
Royal Box in Pinzillacchere Music, which also wants to signify gratitude by an avid viewer and collector of vinyl, with 'affinity' towards them, as evidenced by the tiny picture of my profile.
the sunset.
http://www.megaupload.com/?d=Q724ANCL
"... We see dust motes elusive ..."
the most fascinating of French poets (at least in the Dark Wave) and the dark throb of sound British Post Punk array, 'combination' rather then in vogue among the younger formations 'independent', determine the imprinting of the group and define fully the poetry in the years to come, with texts and decadent twilight, entrusted to the leader Moia Cellerino, supported by music played brilliantly, and after, perhaps the most successful in their records, they move away from both the Rock is the traditional canons of style 'singer-songwriter', to shape melodies and original arrangements, and almost more intimate 'chamber', the emotional impact. The Pima
incision group Milanese, is self-produced cassette entitled "Trouvailles pour Comediens" in 1983, all six songs sung in English despite the title-speaking, followed by a busy concert and the first record, "The Happy Flock "a beautiful ep of 1984, containing three songs with text always in English, printed by a small label of Savona, the Mask Productions.
In 1986, thanks to the historic India-Label sound recording, released another very nice EP entitled "Talk," which includes three songs and an instrumental album that represents for them the final step to the Italian language.
The text of the title track is played, estratto dal lungo poema del 1906 , "Un giorno" di Carlo Vallini , che assieme a Gozzano e Corrazzini fu tra i principali esponenti del movimento poetico 'Crepuscolare' del primo '900 Italiano .
Nel Novembre dello stesso anno partecipano al secondo 'Meeting delle Etichette Indipendenti' , che si svolge a Firenze e viene trasmesso in diretta nel programma 'Stereodrome' , in onda su Rai Stereouno .
Proprio in questo periodo vengono notati dalla EMI che nel 1990 pubblica il mini album dal curioso titolo "Il Signor Gustavo Coscenza" , sei brani dove spiccano "Le terre di Monluè" e "L'uomo felice" , canzoni che riportano alla memoria alcuni grandi della Canzone Italiana come Luigi Tenco .
Prodotto da Angelo Carrara , vengono abandoned altogether 'moaning sound' of Post Punk black for a more mature 'Chanson' just tinged with Wave, so that Le Masque to participate in its sixteenth edition of the 'Premio Tenco', achieving a remarkable success by critics.
In 1991 he published "The Memory of Venus" (Music for Target), their first real longplaying, with some truly remarkable songs ("Makrya", "The Beautiful Summer" and the title track at all) and embark on a strenuous tour concerts in major Italian cities. In 1993
are named in the Italian Encyclopedia of Rock, published by Arcana volume publishing, where it is emphasized the originality of their proposed musical.
In 1995 he published "Le Masque" (No Way Records / Sony Music), where the group tries hard with the 'great leap' and leave the public 'niche' that time he had celebrated.
The album in question is quite controversial, the songs are 'coated' arrangement of perhaps up to date, but sometimes' inappropriate 'to the nature of the songs and lyrics of Cellerino, as always centered on the themes of loneliness,' inadequacy. Eleven tracks of pleasant
Pop, Techno Pop at times, some even almost dall'incipit 'houseggiante', presumably with the 'Proustian' "Marcel" as the forerunner in business, also the cover of "La Banda".
E 'right to recall that In concerts of the period, The Masque detach from the 'mistakes' of the record production, returning to the songs and their true inner nature, by demonstrating to be excellent musicians.
In 1997, the UPR (distributed by Sony Music) published the single "Dandies," including the title track and a cover of "Legend of Christmas" by Fabrizio De Andrè, is the beautiful "All we died with difficulty" of 1968, the second album in the studio of the great Genoese, in turn inspired by "Le Père Noël et la petite fille" by Georges Brassens.
In 1998, The Masque publish "From the Diary of a glass blower" (released on Fire Records and collaboration between the Eibon Amplexus), a beautiful anthology includes material produced from 1994 to 1998, some versions recorded live at the Premio Tenco, and a new "The Long Night of Gianni", dedicated to the late fashion designer Gianni Versace.
In 2003, after several years of silence, thanks to Snowdonia (excellent independent label, in which the team are very good Maisie), Le Masque project returns with the album "The Years of Globiana.
The album maintains strong roots in the Italian songwriters, and stays with the group's last official production Lombardo, excluding the recent reissue 'expanded' output in 2008 ("Interview") and future (with the twelve inches " The Happy Flock "and the first cassette rare '83, assembled insieme) .
Nel 2009 il cantante del gruppo Edgardo Moia Cellerino , oltre ad aver partecipato nuovamente , ma come solista , al celebre 'Premio Tenco' , ha pubblicato un altro importante compendio sonoro , dal titolo "L'Amore che gira il Mondo" , raccolta a suo nome , di brani tratti dal materiale prodotto dai Le Masque , uscito tra il 1995 ed il 2003 (includendo anche i brani del singolo "Sai" del '99) e la title track , canzone nuova ed inedita .
Una formazione quella dei LE MASQUE che fu valorizzata all'epoca (vari rinomati magazines del periodo , quali Rockerilla , Buscadero etc ...) ed attualmente molto poco viene ricordata , per non dire 'rimossa' mentalmente .
Asserendo ciò , mi riferisco soprattutto the public 'indie' back then, which has perhaps never 'forgiven' turning their musical and linguistic (public audiophile forty-years, of which I was / am one, with 'cap in his ear' in some cases, more often when it came to our own artists, to put it as it might just do the wise and great Whittaker "... what if ... 'indie' and sing Italian ... must ... just do the Rap," to figure ...), although these ex-boys have made great songs, while not taking advantage of those economic badget deserved, even if passed to the majors, considered a 'bet' at risk, if not lost.
Now, in my small way, justice is done.
Royal Box in Pinzillacchere Music, which also wants to signify gratitude by an avid viewer and collector of vinyl, with 'affinity' towards them, as evidenced by the tiny picture of my profile.
the sunset.
http://www.megaupload.com/?d=Q724ANCL
"... We see dust motes elusive ..."
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