#zodyaco

The newest release from Pellegrino and Early Sounds Recordings is Morphé, which also sees Pellegrino further elucidating his mercurial Zodyaco concept. At a more earthly level, Zodyaco can be taken as the name of Pellegrino’s studio band, which comprises an ever-shifting and expanding collective of some of the finest musicians around…each one contributing spellbinding performances in service of achieving the very ideal of Neapolitan melodic disco. Indeed, guided by the vision of Pellegrino and co-producer Dario Bassolino, the players here are in terrific form, laying down energized grooves awash in textures of tropical jazz and far-out fusion, with panoramic dance beats and snapping slap basslines guiding sax, synth, and wah guitar on star ocean journeys to worlds of exotic island fantasy. The futuristic and classical merge in perfect unison, as spaceage keyboards intermingle with riffs, beats, and basslines from old skool disco, boogie, and funk, and as lush layers of reverb and delay kiss the mix, pushing the vibe ever towards cosmic-mediterranean mesmerism. But there is also a more esoteric level to the Zodyaco project…a mythology concerning sea, spirit, and sound that explores the ancient relationships between the constellations in the heavens, their terrestrial reflections in the oceans, and the ways in which these ancient bodies of starlight continue to affect human civilization. And it is this interplay between the human and the natural that is a key focus here, as Morphé specifically investigates Napoli’s contrasting identities as a modern urban center, and as an idyllic seaside paraiso.

The introduction of humanistic themes is somewhat newfound for the project, and is born out musically by an increased vocal presence, with Pellegrino and Bassolino employing a multi-varied cast of cooers and crooners—including Pellegrino himself—to lay sensual lyricisms and mysterious lullabies over their kaleidoscopic funk, fusion, and disco grooves. In contrast, the Zodȳaco LP was largely instrumental, whereas the Caucciù 7” only hinted at the vocal splendors to come, so in this regard, Morphé signifies a breathtaking leap in Pellegrino’s songwriting prowess, and across the experience, the singers serve dual purposes, sometimes grounding the stratospheric jams with spells of soulful blues, while other times elevating the vibe towards ethereal fantasy. The album artwork also espouses both a shift in style, and a progression in form, with longtime collaborator Riccardo Corda presenting a visual layout that is at once sympathetic with past Zodyaco releases—especially the gorgeous inner sleeve—while also being quite different. Both the Caucciù 7” and Zodȳaco LP have art that recalls wood carvings and lithographs, and which depict mystical landscapes of water and forest, and of stone and sky. But for Morphé, Corda has rendered a breathtaking vista in almost hyperreal detail, one which not only takes in the magic and mystery of star-shrouded oceans and ancient volcanic slopes, but which also features visages of a cityscape, and thus a more marked human touch. And in a beautiful stroke of symbolism, a piano keyboard threads from down from the majestic heights of Vesuvius through Napoli’s streets and beaches…a visual realization of Morphé’s merging of city, sand, and sea.

Pellegrino & Zodyaco - Morphé (Early Sounds Recordings, 2020) We begin with “Napoliterranea” and pianos made of glass conversing with swirling wahs and phasers. Twinkling rhythmics enters alongside harmonizing six strings, while palm-muting percolations mimic kosmische sequences. Snake tail shakers introduce smoldering waves of bass, synthesizers like intergalactic gemstones radiate a metallic haze, and e-pianos set the stage for disco funk perfection, as Domenico Andria’s taught slap basslines and Pellegrino’s methodical drumbeats emerge to move the body. Anthemic chord riffs made of laser light recall epic prog fanfares as they flow over bluesy bass descents and psychedelic guitar licks from Alessio Pignorio jangle in the background, bringing with them a cold cosmic energy. The whole thing is head-nodding, body-grooving mania…a introductory jam so electrifying it completely overwhelm my senses…though at some point, a saxophone screams through the island dance panorama and breaks the mix down into fluttering space synthetics and muted hypno-rhythms. The groove ebbs and flows underneath, with false explosions receding into a whisper while synth, fuzz guitar, and sax unite for washed out themes of cinematic splendour. And finally, we erupt towards an all out jam climax, with Umberto Muselli’s sax spitting sexual fire over hard hitting rhythmics while Andria flows around the fretboard, his basslines groaning, growling, and distorting as they dance with reckless abandon.

At the outset of “Amaremai,” metals transmute into liquids before a sun-soaked disco stomp emerges, with buoyant drums cracking and funky clavinet riffs modulating into an alien frog song. Glimmering guitars generate heatwaves before being replaced by Linda Feki’s sultry lyricisms, while in the background, bass, drums, and hand percussion work through progressive rock and disco flamboyance, with start/stop syncopations that periodically break up the groove. At some point the vibe turns towards sunset romance…like galloping on horseback across white sand beaches…while melting vocals mesmerize the mind and organ solos climb towards the sun. After summer strutting through another guitar-led swing section, blasting bass synths move up and down at hyperspeed and vocals flail over manic drums and e-piano scats...all before the diva is unleashed with a solar scream towards the sky, as Feki soars over flubbing basslines, disco drums, melting brass synths, and layers of panoramic riffing. Suddenly, an organ solo breaks free and dances over an extended passage of equatorial disco drum perfection, all while synthesizers mimic the soulful moans of some cyborg chanteuse. Then comes a blazing guitar performance…a majestic cleaned toned solo that drips with blues fluidity before giving way to a supernova square wave synth explosion, which sees futuristic fusion leads alighting on adventures of polychrome fantasy.

“Damecuta (LP Mix)” sees Pellegrino both reprising and reworking “Caucciù,” as those now familiar startrail descents fall over flashing brass synths and an effervescent disco bounce. Andria’s bass slips and slides while e-pianos drop dazzling chord progressions, and Davide Cantarella’s hand drums accent Pellegrino’s shuffling hats and cosmic disco rhythmics. A flash of oceanic ether brings in Feki’s hazy vocalizations, which seem here even more effected into a reverberating fever dream than they were on the Caucciù 7”. All the while, guitar curlicues swim through the air before transitioning into radial riffs cycles, which spiral beneath Gaetano Scognamiglio’s whispered secrets and ghostly jazz scats. Synthesizer hover like clouds of neon gas…their growls and moans emanating from the cosmic abyss…while descending echo tracers evoke the communications of dolphins and UFOs. A big banging drum fills launches the mix towards galloping prog perfection, with Latin hand percussion pyrotechnics exploding from every directions and wigged out synthesizer psychedelics coloring the air with layers of fusion squelch. A long and sensual bend brings us back towards cosmic disco and seaside dance fantasy, with a slow and steady groove building up from ticking drum whispers and shadowy bass motions. And eventually, Feki’s angelic coo returns to sooth the spirit while all around, wah guitars wiggle and keyboard riffs pulse like quasars.

The A-side ends on “Nun Fa Niente,” with rattles accenting infectious echo riffs. Fusion basslines and drums flash into view before receding towards a whisper, and as keyboard riffs emerge, we finally snap into the groove. Psychoactive slap basslines work beneath spacey synth scats and 70s-evoking funk riffs, and once the vocals enter, my heart to soars, as Pellegrino delivers one of his best performances yet. His amorous and oceanic croon intercuts between banging piano riffs and extra-terrestrial squelch blasts as it works through expressive melodies and earworm turns of phrase—all before calling wordlessly towards a paradise horizon. The vibe is timeless and completely beyond the here and now, as Pellegrino and Bassolino conjure a distinctly Neapolitan blend of cinematic sunset atmosphere and euphoric dancefloor intensity. Pignorio’s guitar scratches and scrapes through palm-muting jazz fusion patterns and synthesizer leads both multi-timbral and multi-dimensional solo all around the spectrum, with each keystroke generated glowing globules of glass. All the while, Pellegrino’s voice never relents in weaving spells of escapist fantasy…his voice carrying the spirit beyond worry and fear towards some impossible island of pure imagination…even as piano chords chop the air and lasers guns fire in rhythm. There’s a passage given over to a strange spaceage swing of island-soaked future jazz, wherein molten basslines hold down the groove beneath a vivid display of soloing keyboards, with organs and synths of never-before-seen colorations swimming across the sky. And towards the end, we are treated to a blazing showdown between keys and guitar…a dazzling duel of melody and harmony that eventually devolves into liquid psychosis.

The B-side opens with “Tanta Gente” and its narcotizing bongo rhythms, which anchor diamond toned e-piano flights. Bulbous chords signal the entrance of a heady groove, which to my ears, stands amongst the most modern sounding of Pellegrino’s compositions, at least initially. Indeed, we are treated to a fast and frenetic dancefloor odyssey, with starscape synths fluttering side-to-side and basslines wiggling and squiggling through motions of futuristic jazz funk. The rhythms are almost mechanical in their unflinching rigidity, but as always with Pellegrino, there is still an infectious sense of swing. Cool and calming vocal layers flow over head, before making way for banging piano progressions and passages wherein soloing keyboards made of oceanic crystal let loose flamboyant chord strokes. As we ascend towards a kind of chorus, Pellegrino’s voice is joined by that of Errico Cutolo and Samatha Sessa, resulting in joyous group chant harmonies…like some choir of the sun singing and swaying in the caress of a warm mediterranean breeze. After a mysterious synth passage, wherein longform pads sing intergalactic whale songs over blasting funk bass and fusion rhythms, Muselli’s sax enters to solo and scream beneath pleading vocal pleasantries…these quick turns of phrase that soon descend towards a space prog zone out. Then comes one of the most spellbinding avant-pop moments of recent memory, as the solar choir of Pellegrino, Cutolo, and Sessa lock into ecstatic wordless spells and rapid fire scats while the jam barrels down underneath…the vibe so magical and overwhelming, and pulled off with a confidence and sense of bravado that is simply arresting. Elsewhere, pianos dazzle the mind with their touches of cinematic jazz, before the track gives way to another screaming sax solo. And in a final climax, we are treated to one further section of rapid group chant wonderment, with sax and keys generating immersive solo storms and unhinged basslines dancing over body moving beats.

The frozen corridors of “Intrasatta” see threads of silver fading into focus, with guitars like infinite strands of diamonds vibrating in a cosmic windstorm. A shambolic rhythm section moves strangely before locking into a syncopated disco dance, with pianos bringing textures of fantasy exotica and synth solos devolving into blasting radar blips and mutating laser displays. The groove continues to grow ever more angular, as prog rock motions are executed with near mathematical precision—all before we snap towards a super chunky and ultra stoned disco funk skank, with big bottomed basslines working the body and polyrhythmic hand drums accenting the staccato disco march. The vibe is slow and spaced out…like a conga line dancing through a star-shrouded jungle on some faraway exoplanet…and all through the mix, sci-fi synthesizers soar then interchange, as fluid formations give way to ascending strands of pearlescent light. Best of all, we are treated to yet another vocal moment so overwhelmingly otherworldly, so confidently assured, I hardly know how to contain my excitement. Indeed, Samantha Sessa returns to execute some sort of gothic and Romani folk-tinged fairy dreamdance, her rapid fire vocalisms recalling the operatic majesties of Magma as they track a blazing synthesizer lead all the way to the heavens. And eventually, these dazzling vocal dynamics swap out with a freakified sax solo from Muselli, which devotes into an animalistic shriek while deep in the background, synthetic gases spew from seafloor vents and lightspeed leads climb towards the stars.

Blues guitars and muted shakers begin “Ue’ Uagliò,” with everything effected into an aquatic dream. Muselli’s sax purrs in the background as a rock-tinged disco beat emerges, which soon explodes towards slapfunk jam bombast, featuring additional layers of percussion added by Antonio Mambelli, and Andria’s three-dimensional basslines, which seem to wiggle out of the stereo spectrum. The mix is broken up by anticipatory pauses and drops back into the groove, while Pellegrino’s voice works the mind…his whispers transitioning into anthemic crooning, and then again into falsetto lullaby, with drug-laced vocal fx recalling early 70s prog rock kissing the sweet Italian lyricisms. At some point, the groove mutates into a pot-soaked blues lurch, with saxophone skronking, drunken drums shuffling, and pianos banging while synthesizer leads weave blazing webs of light. We then transition into a passage of moonlit romanticism—only as if proceeding on an alien planet—with sci-fi electronics mimicking chest-caving drum fills and layers of haunted haze swimming through the air. After cutting back towards bottom heavy funk, Muselli’s saxophone screams in ecstasy and pianos chords alight on soft-focus adventures over booty-shaking basslines, while hand drums and disco beats work the body into a feverish state of bliss. And once we explode back towards the stoner prog vocal hypnotics, the Zodyaco band struts and swings swings with infectious energy, as keyboard riffs hit from all directions…these kaleidoscopic flashes, waves of rainbow energy, and grease-soaked clavinet accents. Bleeps and bloops are repurposed into cosmic texture, vocals and sax serenade each other, and outerdimensional keyboard leads soar into the void as percussive guitar licks shimmer like golden glitter…their rhythmic phrases supported by ticking hi-hats, popping snare strokes, and colorful world drum panoramas.

Pellegrino pres. Zodyaco (Early Sounds Recordings)

Pellegrino & Zodyaco - Morphé - Neapolita disco LP conjures a world where the Love Boat still sails

This has been an amazing year for Early Sounds Recordings, especially with the label’s focus on archival reissues. I return again and again to Qvark’s mediterranean fusion and Klaus Krüger’s technoid freakouts and of course, the first volume of Napoli Segreta already stands among the most sacred compilations of Italian disco and funk ever released. All the while, label head Pellegrino S. Snichelotto has been quietly crafting his follow-up to 2016′s Periplo (in addition to some killer remix work for Dualismo Sound and Best Record Italy). The result is Zodȳaco, a collection of fiery instrumental magic seeing Pellegrino and his friends exploring the mythological relationship between the stars and the sea via fantasy funk, exploratory fusion, and esoteric disco. It’s truly one of the years best albums, with masterful performances from all involved and a recording that has to be experienced to be believed, as the levels of physicality, immersiveness, and warmth surpass almost anything else I’ve ever heard. And as always, Riccardo Corda delivers his characteristically clean, evocative, and pitch-perfect artwork, which works here to heighten the music’s aura of oceanic mysticism.

Pellegrino pres. Zodȳaco (Early Sounds Recordings, 2018) The majestic crashing of waves introduces “Astri e Riflessi,” with smokey and soulful e-pianos and their ethereal jazz wanderings. An immersive cascade of tropical percussion surrounds a smooth funk bassline, while laid back drums underly Fabio Raiola’s psychedelic wah guitar. The vibe hints at a sort of stoned and hazy prog rock…early Floyd and Steve Hillage…as much as Pellegrino’s usual touchtones of Italo funk exotica, especially as the vibed out Rhodes solos of Sonny Olsen are carried into the sky on rainbow clouds. Towards the end, after a beatless stretch seeing the wave samples return, we cut into a sky-seeking climax where keyboards sounding like sprightly prog flutes dance over the masterful balearic groove. In “Zodyaco,” reverb heavy bass guitar journeys over layers of oceanic ambiance. There is so much liquid movement to Domenico Andria’s playing and he is joined by synthetic clavinets under wah fx. Luigi Snichelotto holds down the rhythm while dropping incredible fills and romantic synths move through the mix stoking an atmosphere of mediterranean beauty. Aquatic fx underly a delirious interplay between synth and guitar while enchanting e-pianos from Alessio Busanea work their way in between the sunshine riffscapes. And following a subdued midtro, the track explodes into pure Qvark worship led by journeying funk bass sorcery, flying guitar riffs, and jazzy keyboard flowers blooming all around.

Shadowy funk snakes through a seaside jungle while kaleidoscopic Rhodes solos rain down like drops of golden light. This is “Libra position,” which also sees a propulsive hypno-bassline from Domenico backed by Pellegrino’s shakers and twilit disco drum pulse. Rudi Agius’ electric piano sorcery is breathtaking, as smooth celestial descents intertwine with quacking funk riffs. Fabio’s phased out and subaqueously echoed guitar leads are intoxicating and the recording is so alive and physical, with every vibration of the steel strings audible. At some point, the guitar is replaced by cosmic synths following the same melody and sounding like glowing columns of liquid light while bubbling brass synths surround the tropical disco throb and narcotic guitar lines. And during a hallucinogenic yet chilled outro, glassy electric piano fantasias float above delayed synth mesmerism, thrilling interstellar solos, and Domenico's expressive, vocal, and progged out bass guitar adventures. There is even a moment in the final few seconds where everything aligns for a joyous classic rock finish.

“Genti del Mediterraneo” rushes in with hand drums leading a burning beatless fusion build as the bass guitar alights on stunning solo adventures. Sonny Olsen drops incredibly jammed out and fiery organ magic and over top of the boiling jam hover haunted spaghetti western melodies and quacking sliding funk guitars. A screaming organ lead introduces the main rhythm, with a loved up island romanticism coloring the funky disco beats. Domenico’s bass guitar performance leaves my jaw on the floor with its slithering sliding energy and Sonny’s sorcerous organ keeps ascending ever higher, with percussive textured key strokes and rotating Leslie speaker beauty. There is a beatless midtro where tambourines back an absolutely maddening slap bass performance and it’s hard to overstate just how perfect it all is, with master musicians exuding pure confidence as they weave one of the most electrifying jams of the decade. Elsewhere, wailing organs line up with atmospheric synths and the bass guitar for transitions of sliding bending blues magic and during a hand percussion led jam out, where the bass once again is unleashed into a slapped funk paradise, those flutey keyboards from “Astri e Riflessi” re-emerge, moving through dazzling solos as the organs back down into subdued aquafunk riffs. Following another beatless stretch of fantasy island romantics, with the bass pulsing into the cosmos surrounded by shakers and phased organs, we head into one last section of blazing solos and mediterranean disco heat.

At the end of the LP sits a reprise of “Libra position” and what stands out most is the bass guitar recording…softly distorted, with every single slide, pick, and vibration intimately felt…as if you are sitting right in front of the amp. The rhythms are carried on subtle electronic percussion from a SCI Six-Trak/DrumTraks and a kaleidoscopic tapestry of hand drums, chimes, tambourines, and bells helps everything build into a dubwise seaside shuffle. Cracking snare hits push the vibe towards head nodding perfection and Rudi’s delay and reverb smothered electric pianos dance around each other like cosmic birds until that wondrous guitar hook hits, which in the original was already buried under washed out cosmic fx yet is here taken even further, as if Fabio’s axe is submerged below the surface of some vast ocean of stars. The guitar leads are trailed by neon blue tracers and the entire electronic panorama is bathed in an etheric echo haze, one that helps create a seaside dreamworld for the celestial keys to explore.