D-BRANE by Arti & Mestieri

The album was introduced as follows through the band's official channels:

"In the ultimate theory of everything, which aims to unify the four forces of nature, countless elementary point-like particles—like strings—orbit the entire universe, expanding and contracting in specific ways across various dimensions. Music, too, a dynamic object with multiple dimensions that propagates through space-time, vibrates beyond all boundaries, spreading infinitely like sound particles (Music Without Boundaries): this is Arti & Mestieri's D-BRANE."

A studio album released to celebrate the 50th anniversary of the band's founding. Since their debut in 1974, Arti & Mestieri have been recognized as one of the most representative Italian progressive rock and jazz-rock bands.

This album collects previously unreleased songs by all the songwriters who have contributed to the band's repertoire, from their first album to the present, spanning the band's entire half-century history.
All the musicians who have participated in the various formations over the last 50 years have reunited. to record and participate in each track.

A unique project, "an album created with a stellar cast of composers and performers from Arti & Mestieri," a momentous undertaking and perhaps a world first in the history of music.

Audio Mixed, Engineered, and Mastered by MATTIA GARIMANNO
Audio Additional Engineered by SAMUELE FORTE
Recording: Ænima Recordings – www.aenimarecordings.com
Artistic production and direction by FURIO CHIRICO
arti&mestieri [D-BRANE]

Composers:
Luigi Venegoni
Piero Mortara
Roberto Puggioni
Marco Cimino
Marco Gallesi
Beppe Crovella
Giovanni Vigliar
Marco Roagna
Arturo Vitale
Massimiliano Nicolò

Personnel/Musicians:
Furio Chirico (drums & percussion)
Gigi Venegoni (guitars, keyboards)
Arturo Vitale (sax) *Recordings prior to his passing in 2024
Giovanni Vigliar (violin, keyboards)
Marco Gallesi (bass)
Beppe Crovella (piano, keyboards)
Piero Mortara (piano, keyboards, accordion)
Roberto Puggioni (bass)
Marco Cimino (piano, keyboards)
Umberto Mari (bass)
Toti Canzoneri (flute)
Alfredo Ponissi (sax)
Iano Nicolo’ (vocals, loops, samplers)
Marco Roagna (guitars)
Diego Mascherpa (sax)
Lautaro Acosta (violin)
Gabriele Tommaso (guitars)
Giuseppe Vitale (keyboards)

Tracklist
01. SALTO CON L'HASHTAG (by Luigi Venegoni)
02. LIGHT METAL (by Piero Mortara)
03. NOSTRADAMUS (by Marco Cimino)
04. ELEGIA (by Piero Mortara)
05. TOO SOON TOO LATE (by Arturo Vitale)
06. ALGARVE (by Roberto Puggioni)
07. BEACH DANCE (by Giovanni Vigliar)
08. ONE MORE TURN (by Marco Gallesi)
09. THE LAST DAY OF WINTER (by Luigi Venegoni)
10. COSMIC CONSTANT/FRAGMENTS (by Massimiliano Nicolò)
11. TO ONE OF US (by Giuseppe Crovella)
12. UNDERSTAGE (by Marco Roagna)
13. MESCALITO (by Antonino Salerno)
14. THE LONG GOODBYE (by Luigi Venegoni)
15. D-BRANE (by Piero Mortara)
16. * IMPROVISATION FOR ARTURO 10.19
*Japanese exclusive bonus track

In addition to the 15 previously unreleased tracks, the Japanese edition includes the bonus track "Improvisation for Arturo" (10:19). This is a live recording made during the sold-out concert on February 22, 2025, in Turin, dedicated to Arturo Vitale. The performance features 21 artists, including the original five-piece lineup (Furio Chirico, Gigi Venegoni, Giovanni Vigliar, Beppe Crovella, and Marco Gallesi) and longtime member Alfredo Ponissi (saxophone, flute)."

The album's description is beautiful and comprehensive, and it clearly shows that the inspiration behind "D-BRANE," the title, and the work's theme, draw directly from String Theory, where "D-BRANES" are multidimensional structures on which open strings can anchor.

Music is interpreted as a cosmic force:

Just as elementary particles are not points but vibrations of strings in a multidimensional space, Arti & Mestieri's music expands beyond conventional boundaries, vibrating through space-time.

The "Musica Senza Confini" project aims to unify different genres (jazz-rock, progressive, and academic), transforming sound into a "sonic particle" that propagates infinitely, reflecting the complexity and harmony of the universe.

The album represents an attempt to translate concepts of theoretical physics into complex rhythmic structures, typical of Furio Chirico's drumming and the group's sonic architectures.

The multidimensional membranes of String Theory are used as a metaphor for a sonic architecture that defies physical and genre limitations. Music is not seen as a linear sequence of notes, but as an entity that vibrates in multiple dimensions, reflecting the idea of ​​an interconnected universe where everything is vibration.

There is a Unification of Languages, just as with the "Theory of Everything," an attempt to unify fundamental forces. The album blends Furio Chirico's rhythmic virtuosity with symphonic structures and jazz improvisation, creating what the band calls "Music Without Boundaries."

The compositions are designed to expand and contract, alternating moments of extreme technical density with atmospheric openings that evoke cosmic infinity.

The booklet accompanying the CD (here in the Italian version, not the original Japanese version) details the composers of each song and all the participants in this immense project:

And the lyrics by Nicolò Iano from the song COSMIC CONSTANT/FRAGMENTS (translated)

The present is the spark

Of the meeting in the clouds

Of the past and others of the future.

The storm.

I am Matter and I am something else

I am Matter and I am something else

I am Matter and I am something else

I am Matter and I am something else

Other

Earth's Energy

Expanding like a beating heart

Drum Skin sings like a Wave

Drum Skin sings

In addition to the presentation available online, the attached booklet also includes a beautiful presentation by Marco Zatterin, which you can find in the photos below in both Italian and English.

The Tracks

01. SALTO CON L'HASHTAG (HASHTAG JUMP) (by Luigi Venegoni)

A stunning atmospheric opening, synth loops and a bass line with light drums that quickly become complex and virtuoso, with polyrhythms providing the backdrop for dissonant strings and synths that create a suggestive and nostalgic melody. In this ethereal melody, Chirico masters the instrument with astonishing mastery, even for those who have known and appreciated him musically for decades. Perfect synergy between the instruments and transport, emotion, and surprise. A magnificent start.

02. LIGHT METAL (by Piero Mortara)
It begin with an intro that is a precipitous rising and falling scale of strings followed with absolute precision by the synchronized rhythm of the drums. Then the syncopated start of the piece moves quickly to a slow and ethereal section with keyboards, synths, and drums in a dense sequence of tempos and counter-tempos. A sound that approaches the atmospheres of Miles Davis, but with a use of electronics that leaves only the memory and dissonances that were not his. The pressing phase resumes, with synths shaping an almost oriental melody and strings in dissonance, until behind the incessantly hammering drums and sumptuous bass, solos alternate: a short and intense guitar solo and a magnificent accordion solo. Exceptional.

03. NOSTRADAMUS (by Marco Cimino)
It begins with a monotonous rhythmic base and a piano riff that outlines the melodic theme, before the wind instruments come in to outline the same sunny and positive theme. A wind-only interlude is followed by the drums, first marking the accents with the cymbals and then the tempo with a light rhythm on the snare drum and hi-hat, on the same theme that evolves as the drums grow in intensity and complexity. The "Davisian" sound returns, especially in the central section, when a splendid guitar solo sings over the rhythmic base. Then the wind instruments take center stage again, and the overall intensity becomes increasingly enveloping, and the drum virtuosity becomes ever more subtle. At the end, the same melodic theme is followed by a sort of light march, and the piece draws to a close. Splendid.

04. ELEGIA (by Piero Mortara)
It begins with a Mediterranean melody and atmosphere, the rhythm of a song, but the strings sing, making the piece very emotional and at times moving. Although the sounds are slightly dissonant, there is great harmony. Chirico's drums chisel both the broader moments and the splendid violin solo, inlays of different natures, mandalas that move within the pattern formed by the drumsticks and change. Then comes a soft but sharp guitar solo, its high notes not shrill but harmonious. The piano plays its deep and intense solo, and then the finale is as grand and emotional as the piece.

05. TOO SOON TOO LATE (by Arturo Vitale)
The opening is suspended between harmonious and romantic wind instruments and a slow, atmospheric piano with light synths. Drums hint and trace, intervening in a non-invasive yet creative way with light touches, enveloping cymbals, and accents. A romantic piece that evokes serene, meditative emotions. Splendid. The piano and wind instruments often perform the same melody in unison, a great harmony.

06. ALGARVE (by Roberto Puggioni)
It begins with a powerful intro, and then the rhythmic piece begins, a melody with a Mediterranean flavor, a beautiful guitar riff that builds upon the entire melody. The piece offers a splendid bass solo over a rhythmic and delightful drum line, while the keyboards slowly mark the tempo with deep, low sounds. A great piece.

07. BEACH DANCE (by Giovanni Vigliar)
A grand intro with sumptuous bass and imperious drum breaks, then the violin draws the melody over an intricate drum base with a tempo that at times seems South American. The beautiful guitar solo introduces the central section of the song with a dialogue between violin and drums made of breaks and chases, then returns to a continuous and pressing energy with a splendid violin solo. Final breaks of extreme complexity and precision. Exceptional.

08. UN GIRO ANCORA (ONE MORE TURN) (by Marco Gallesi)
An ethereal and atmospheric opening with synths and wind instruments hovering over the scene and ambient sounds, then the piano and violin in unison outline the theme, followed by the violin becoming distant yet present. An ethereal piece that is a serene and engaging narrative. Extraordinary deep melodic bass and accordion inserts. Then the rhythm becomes more decisive and the violin returns to the forefront. It closes with the sound of the sea recovering the waves...

09. L'ULTIMO GIORNO D'INVERNO (THE LAST DAY OF WINTER) (by Luigi Venegoni)
A piece that immediately gets into the swing of things with a ballad-like pace, a sustained tempo, and the violin drawing the melody along with the piano. A beautiful melody and a beautiful guitar solo. Drums weave a complex web of polyrhythms that branch off in different directions but then converge on the theme, enriching it with an intricate undercurrent. Density gives way to spatiality, with synth loops alternating with virtuosic drums and bass, which then overlap and give way to the violin and piano in their splendid dialogue that echoes the opening theme. A song that is a splendid journey through personal memories and that moves with its harmonies. Fabulous.

10. COSTANTE COSMICA/FRAMMENTI (COSMIC CONSTANT/FRAGMENTS) (by Massimiliano Nicolò)
A hypnotic progression immediately punctuated by synth loops and vocals for a song that has the only lyrics on the album, a mantra or a folk song, or a combination of both. The distorted vocal sounds are at times reminiscent of Sardinian shepherds, with an almost percussive vocal, an instrumental vocal. Initially just voice and synth, the drums enter, first with sporadic and targeted interventions that grow in intensity, then with a haunting hi-hat that creates a sense of tension and anticipation while the splendid voice sings. Then the drums become intense, and the voice and synth are distant, moments of transport and surprise, and a section by Chirico that plays on the near-silence of the voices, which intervene with the synths on an extraordinary solo that seems endless, hypnosis and connection as the song fades into the piano intro of the next track.

11. A UNO DI NOI (TO ONE OF US) (by Giuseppe Crovella)
Deep piano, you can hear the hammers striking the strings and the notes crashing on the piano body, while the splendid bass dialogues, playing a deep melody with long, drawn-out sounds that generate intense atmospheres. The melody becomes romantic with the accordion's entrance, but the bass soon returns to center stage in a wonderful catharsis with the listener. I haven't heard bass like this on a recent album in years and years. Wonderful atmosphere. A piece of unique refinement. It fades into the next track as it opens with an ethereal carpet of synths.

12. UNDERSTAGE (by Marco Roagna)
The synths soon give way to a rhythmic and sunny piece, with a positive mood and complex polyrhythmics based on a guitar riff, choral breaks, and then a guitar solo, while the incessant rhythmic base also involves the keyboards. Then the guitar returns to outline the melody, and the rhythmic base becomes more regular for a bar. Then the intricate rhythm section resumes, with the keyboards creating a beautiful solo that brings the piece to its close.

13. MESCALITO (by Antonino Salerno)
A fast opening with a stunning bass-violin chase and fast, rich drums emphasizing the series of breaks. A complex piece with a seemingly simple structure that these musicians manage to imbue with technique and virtuosity. Many atmospheric moments follow one another, with the wah-wah guitar following the great keyboard solo in the middle. Then it resumes its course towards a new virtuoso section, this time with violin, followed by a new solo, the sumptuous sax one. A monstrously beautiful piece.

14. IL LUNGO ADDIO (THE LONG GOODBYE) (by Luigi Venegoni)
Opens with an atmospheric intro, deep, echoing piano sounds, and synths that underpin a guitar solo over an almost Latin-like drum beat. The synth plays a continuous background loop, and the bass, with intense sounds, punctuates a melody within a melody in unison with the keyboards. A song that leaves a feeling of nostalgia, deeply moving.
 

15. D-BRANE (by Piero Mortara)
The closing track of this version, which does not contain the bonus track present in the Japanese version (IMPROVISATION FOR ARTURO). It is a short, haunting piece in which piano, drums, and synths operate at different speeds. The piano plays a continuous, uninterrupted rhythm, the drums develop a chiseled rhythm made of counter-beats and polyrhythms, and the synths, with long, alternating sounds between bass and treble, create a dissonance with the piano. The deep bass defines a continuous backing track. Between pauses and the sporadic isolation of the synths, resuming the complex array of sounds, this splendid album concludes.

An album that left me speechless. Not only literally, because the album's presentations are exhaustive and clear in their representation of the concept behind it, but also for the quality of the production, the extreme technical and performance quality of every musician without exception, the quality of the compositions and arrangements, and above all, the fidelity to the concept—sensations I've tried to convey track by track. I hope I've captured, at least in part, the images the songs evoked in me.

As already mentioned in the band's profile, the central pillar is the hyper-technical style of drummer Furio Chirico, known for his virtuoso use of odd time signatures and polyrhythms. However, on this album, his fundamental presence does not diminish any of the participating artists. There's a great balance of presence, and in some songs, while the drums are never completely overshadowed but always present with delightful and complex interventions, the songs are characterized by the prevalence of other instruments.

Unlike traditional jazz fusion, the band uses symphonic harmonies and arrangements that recall classical music and European progressive rock, but also Latin music, folk, and experimental music, and at times sounds reminiscent of world music.

The violin plays a key role, guiding the main melodies similarly to a lead guitar or synthesizer.

When present, the voice is used as an additional instrument rather than a central element as in pop or rock music, and on this album, the only sung track, combines vocals with a splendid, melodic vocal part of great execution and interpretation.

Unlike many historic bands stuck in the past, Arti & Mestieri have continued to produce extremely relevant music in the new millennium, and this album, after just a few listens, is already worthy of being counted, in my opinion, among the absolute masterpieces of Progressive Rock and Jazz Rock. The band's trademark Italian Jazz-Rock is further evolving into an international, or rather, universal and cosmic, dimension. And considering this change, this evolution, has come as they celebrate their fiftieth anniversary, it's simply astonishing. Awesome.

Note: All links to the musicians' works are in the TAGS under the article title or on the "Artists" page.