. PROSTITUTE REVIEW
by Andrea Peluso (Italy)
...thanx to Alessandra Montrucchio for the english translation

Today is a special day: finally I`ve got a great album - I hope so... I turn a soft light on, I sit in a comfortable sofa. I wear my headphone...I`m ready. First of all I look at the cover and its agressive colour; the shadows in my room make it more and more gloomy. I think that AV have chosen the title PROSTITUTE to attract, to make people curious, to astonish. I`m already sure that PROSTITUTE isn`t a heavy metal album (I`d die in that case!). I turn my HiFi on, I insert the CD: I see on the timer that the album lasts more than 70 minutes and counts 16 tracks- that`s great and brave for a new album. I push "play" and...a surprising intro: sometimes a floating distored guitar, sometimes strange "iron" effects. THE PARADIGM SHIFT is a sort of summing-up of the whole album, it goes beyond the door of the unknown towards the field of Inspiration, of Unexplored Music; it`s a sort of wandering in the underground, searching for a positive light, sometimes shining, which will find its right expression just in APOLLO.I`m stuck by the way Marian Gold uses his voice, which goes from the "falsetto" to a more cutting tone, really new and disquieting (it remembers me the Red Hot Chili Pepper`s singer!). I have no time to answer the final question "do you hear it?"``cause FOOLS begins with itsmoderate and deep rhythm. The acoustic guitar shows the mix bebtween traditional instruments and electronics; there are soul backing vocals (see SENSATIONS or RED ROSE) and the usual good interpretation by Marian. Here comes the third track and I drawn in the will of destiny - the first notes of Beethoven`s Fifth, refreshed by some synthetic effects creating a curious moment of waiting...before the introduction of the bass, which the whole track is based on. The first notes of the Fifth periodically return, marked by a guitar; the drum sounds like the 80`s and it`s interesting to listen to the voice in the middle of the song, where it`s "shouting" on the distored guitar. BEETHOVEN is a very incisive song, even if it remains a pop song: by the way, it`s the only track fading at the end. ASCENSION DAY begins with a kind of eastern sound; after a gradual crescendo, there`s a wonderful spanish interlude (one of the most interesting moments of the whole album);then, after another crescendo sounding like a musical, the song ends with Marian`s breath. Once again, drums are somehow of the old style, except when Marian sings for many times "we`re gonna dance to the sweetest of music", where drums are more powerful. Then it somes the most commercial song (together with THE ONE THING) of the album, a song that is my favourite one (with the hypnotic EUPHORIA). The protagunists of THE IMPOSSIBLE DREAM are the sax and the electric guitar. The electronic drum sounds like 90`s, but it doesn`t cover the other instruments. The voice is amazing, deep in the beginning, then it jumps one octave higher and marks an harmonic line easy to remember and charming: by the way: Marian`s voice doesn`t sound tired at all when it`s so high. After a talked and intimate moment comes the sax and then the guitar is the protagunist of a moment less brilliant then the beginning. PARADE is the most theatral and suffered track of the album, with a very free proceeding and an inspiration reminding to Brecht: it`s for sure an unusual track, also for AV. Marian starts very low and just sometimes goes higher: there`s a great tension lasting for all the track, untill the final breath- denunciation. Tragedy disappears thanx to AIN`T IT STRANGE, a funcky track with a fantastic bass, some notes from the sax, soul backing vocals and the voice touching a sort of calm, "submissive" rap. The rhythm is resolute but not too quick. And then I can listen to two more "reflective" songs. At the beginning there`s a calm piano; than the acoustic guitar, keyboards and drum take its place, keeping a reasuring mood:it`s ALL IN THE GOLDEN AFTERNOON, dreaming and poetic song, which Marian sings with whispering voice to keep that quiet atmosphere (it reminds me to CAROL MASTERS). In the suggestive final, the acoustic guitar makes the rhythm slower, untill the last note (similar to the one of MIDDLE OF THE RIDDLE). The next track has the same atmosphere, warm and smoky. The boss of OH PATTI is the piano, and the "falsetto" at the beginning turnes into a more determined voice, thanx to the strings section too. It`s a short and nice episode. "All alone" is the line that connects this song to the following one, IVORY TOWER, a mine of memories and recalls to the past, with a feeling of anguish fo the future. This feeling is particularly strong in the middle of the song (where there`s no rhythm) and explodes at the end, when Marian sings on a higher and more powerful note. Then...the smoke fades away and there`s Bob Marley; a local radio is announcing me the next track...and it`s reggae!! A strange organ takes me into FAITH, solar and thoughtless song, with vocal echoes like Peter Tosh, mulattress vocalist (well, I imagine them so...) and a kind harmonica which playes a surprising central solo. The surprise is great: I wonder how many kinds of music AV have played untill now, and I`m waiting for other shocking changes of rhythm in the last 25 minutes of the CD. I am immediately pleased by IRON JOHN, a track quite ticking at the start, with a clear rhythm and a heavy humid atmospherer, very different from FAITH. The voice at the beginning is very deep and able to do its task: to tell a tale. Yes, cause this song is a fairy tale, even if not clear. The acustic guitar (I suppose that the song has been written with this instrument) supports the chorus, the keyboard`s riff is catchy and sounds like the easy melodies of the first album: the voice, even if it doesn`t go so high, grows easily from the initial darkness to a more limpid dimension. The final minor harmony joins IRON JOHN to THE ONE THING, a very "Eightie`s" song, with a smart sax and moderate harmonies and voice (excluding when it sings on a higher note the final "That is the one thing I know"). But there`s another sudden change of atmosphere: a powerful drum is announcing SOME PEOPLE, which sounds at the beginning like Depeche Mode and shows electronic origins (really nice for who, like me, loves the new wave of the first Eightie`s). Gradually the track changes, even if it keeps an incisive rhythmic section (excluding the "psychedelic" part "Some people live and love in vain"), and it`s ruled by a distored guitar sounding like Seventie`s; the final is rolling, quiete angry. The pause makes me fall into the void and...I`m in a submarine and rarefied place. EUPHORIA is slowly wrapping me: the effects roar a lot and suddenly there`s a wonderful electric guitar very "shaded", sounding like Mike Oldfield and lasting for the first three minutes (!!). After another submarine part, comes a very deep bass; the guitar is the protagunist once again after a rhythmic section: the voice is really "filtered" and there`s a complex harmonia`s structure which recalls the initial suite: drums introduce a more catchy sound, after the quite dissonant part "Drowning, draning". After "ship is leaving right on time", the final is ruled by drums and chorus, and suddenly...I go back to the ground! APOLLO is awaiting me,and it`s the last and optimistic track of the album. drums are hammering, the chorus is very "full" and the voice shows great extension and power, most of all when it sings "and return back home". The central section has a very good structure: voice ( a little bit rap), keyboards and chorus are chasing each other untill "This is the end of the show". The track ends with a solemn major harmonia, after a fantastic "crescendo" and a wonderful keyboard solo; it`s a light version, which shows that AV have achieved a great winning-post: tey`re an electric band and they`re able to explore and melt into a unique project very different kinds of music. They have reached a great artistic ripeness thanx to a few important acustic instruments ( and this is a very great compliment, sice I love synth-music). Now the CD is finished, I feel what everyone feels after listening to a good album: I hope that the next one will come out soon! Hoping that this dream will come true, even if music market prefers banal songs (but sometimes there are nice surprises like this), I greet you all. S.M.I(2).L.E.

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