»Colpi Di Sole« by Fernando Lagreca

Anyone who has followed Autoplate since its beginnings knows that Fernando Lagreca is no stranger to the label’s diverse lineup of artists. Following the releases of “Suave” (2003) and “Nadador” (2005), Fernando makes an impressive third appearance on netlabel Autoplate with “Colpi di Sole”. Identifying “Nadador” along with “Funicular” (RealAudio, 2005), as his favorite albums, Fernando decided that it would be difficult to surpass their creative quality and made the decision to take some time off in order to mull over some fresh ideas for his next release. In April 2006, he began making a sketch of the new album and over a period of about two months the ten tracks found on “Colpi di Sole” were born.

Love is the simple theme of that so complex emotion of this newest Autoplate release. “Colpi di Sole” is an Italian expression that translates into “hit of sun” which is linked to the reassuring warmth that is often associated with love and romance - what Fernando describes as a musical encryption of joy and pleasure and a reflection of melancholic affection. The heartening sounds found within the ten tracks embracing “Colpi di Sole” are a magical blend of processed acoustic guitar, hardware synthesizers, vocoder processed vocals, along with both sampled and programmed rhythms/beats. Although a bit awkward, a one line précis of what s the listener will hear on “Colpi di Sole” might be - Suave, love-inspired, glitch-textured electronic-acoustic vocal-instrumental pop-ambient.

“Andana” is the romantic opener relating the story of his attraction to a girl that used to ride the daily train with him. Lightly processed acoustic guitar, electronic glitches, delicate beats, and smoothly wavering sythns form the backdrop as vocoder processed vocals recount the story. The romantic tone continues with the dreamy title track. “Colpi di Sole” is about what happens when you are in love. Tenderly plucked guitar notes, melancholic keyboards, subtle beats, and soft, processed vocals all meld together to narrate this second romantic tale. Leaving the vocals behind briefly, the up tempo “Drone Girl” is an elated sounding, pop-inspired instrumental composition full of rich acoustic guitar chords and rhythms made even more listenable by its intricate beats. Mellowing things down once again, the nostalgic “Red Sun Hair” is a vocal piece telling of a weekend love story. Near the album’s midpoint “Tanto Amore” (So Much Love) brings a short instrumental interlude within which effortless guitar playing and synthesizer melodies seem to be carrying on a passionate conversation. The second half of the album begins with the down tempo “What We Call Love”, a love song full of relaxed melodies and processed vocals and a refrain that reminds us “that’s what we call love.” A rich, lyrical composition, “Trip Elisa” is about the girl that we all dream of meeting. Wistful vocals and a simple, melancholic keyboard melody stand out against a beautiful rhythmic background of flowing chord progressions and gentle beats. A deep, solitary synthesizer-based loop establishes the downhearted mood of “Bad Day for a Robot” as a patchwork of toy-like noises and glitches dart in and out among sad melodies and acoustic guitar rhythms begging the question “why a robot couldn’t have a bad day?” As the album nears its conclusion, “Tillbaka”, a Swedish word meaning “behind”, elivers a nostalgic, harmonious assemblage of blurred vocals, synthesized melodies, and acoustic guitar described by Fernando as “what is behind the life, the travels, the people.” “Colpi di Sole” reaches its quixotic conclusion with orchestral- like ambience of “Tramuntana” constructed of smooth melodies, warm acoustic rhythms and soft beats of which Fernado says “it is the wind from the mountains … from the Pyrenees. Fresh and strong, but calid and soft at the very same time.”

1. Andana
2. Colpi Di Sole
3. Drone Girl
4. Red Sun Hair
5. Tanto Amore
6. What We Call Love
7. Trip Elisa
8. Bad Day For A Robot
9. Tillbaka
10. Tramuntana