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NichelOdeon/InSonar & Relatives
INCIDENTI​-​Lo Schianto
(2021 -  Snowdonia Records - Czech Republic)



Claudio Milano ranks as one of the most prolific musical artists in the last three decades. His time as member of NichelOdeon is ever surprising with that anything can happen delight. His solo work is even more eccentric and often what commercial society would call the deep end. However, the talent and energy put in to all his performances is astounding. By way of accolades, Claudio is an artist of extraordinary passion, vocal skills, and an awfully almost mad scientist singer who can control his pitch, amount of all the elements of his voice, and release of each one of them. Pure perfection! From operatic, slant rock fusion, progressive to the furthest degree, and experimental to the core, this man makes no small footprint in the world of this often hard to digest  but so well worth it styles of music. I have used comparisons of Diamanda Galas, Demetrio Stratos, an even more dramatic Meredith Monk, with a suggested blend of all at once or variations of them.

Scribes of words could be given here to information about the compositions on this disc, but better to spend time as to Claudio's energy and skeletal framework. You can read more details about each tune at the Bandcamp link provided up top. Easy enough when I asked Claudio  about this extensive recording. He began with a question he asked "Who are you, son?" And explorations of real time/raw emotional output and almost unreal musical journey you will witness here, are stunning.

 If you think you hear many vocalists, who range in multiple octaves, well you do. Some are Claudio's, some are additional artists. You will be transfixed by is the first cut 'Not Me - Non Esistono (Senza Valore #1)', where the credits are stated on Bandcamp (once again, referring all to the notes there, so I can talk more about the actual music in the review). Amazing and dramatic are not even potent enough to depict. One factor is always present with Milano's personal works, that is dense, so naked, and so packed with details, that only a mass set of quiet, attentive, and solo sessions will allow complete comprehension of the composition(s). In fact by the time you approach the fourth track ('NichelOdeon - Il Barbiere degli Occhi) you may think you have found this more manic Sleepytime Gorilla Museum (without the metal) Outer Limits Circus Orchestra (perhaps a good name for this collective outfit), and absolutely unclassified operatic brilliance all in one. Yes this is a collection from many sources Claudio performed in, and many he composed fully. No, there are no moments in which time is wasted. In fact, the listener may have to take occasional breaks as the density is as near to overflow as one can get. And this is a huge compliment.

If you get to 'This Order & Coucou Sèlavy - Ho Gettato mio Figlio da una Rupe perché non Somigliava a Fabrizio Corona', (track #10) you are close, but not at the end, to an unparalleled music experience. A full fifteen compositions are laid out for the consumption, but not for the common music fan. This is extremely complex stuff, and this release is a perfect diving board to wet all newcomers to this fabulous vocalist, composer, performer. I have had the privilege to know him for a decade now, and each recording I hear with him involved, is a treasure of new things. Here is the line up of musicians making 'INCIDENTI​-​Lo Schianto' the masterpiece it is.


Claudio Milano: al vocal sounds (tracks 2, 3, 4, 5, 6, 7, 9, 10, 13, 15, 16), vocal noises and reciter introductions (tracks 11, 12), screaming (tracks 12); backing vocals and vocal effects (track 8), diamonica and piano (track 9), percussion (tracks 4, 16), synth (6, 13), field recordings (tracks 4, 9, 15), electronics (13, 14, 15, 17);

Paolo Siconolfi: editing, mixing, mastering, sound designer (tracks 1 to 17), electronics (tracks 2, 4, 6, 8, 9, 13, 15), field recordings (4, 11);

Erica Scherl: violin (tracks 2, 4, 7, 8, 10, 11, 12, 15, 16);

Evaristo Casonato: oboe (tracks 2, 4, 7, 8, 15, 16), flutes (tracks 4, 7, 8, 16), contralto sax (tracks 7, 16),English horn (track 16);

Paolo Tofani Krsna Prema: IPad (tracks 3, 16);
Vincenzo Zitello: Theremin Moog (track 4);
Laura Catrani: soprano (tracks 1, 14);
Coucou Sèlavy: one thousand voices/theatre (tracks 11, 12);
Dalila Kayros: extended vocals (track 15 from 06.07.089 to 09.01.140), field recordings (track 14);
Cinzia La Fauci: ghosts' voices (track 8 from 00.43.081 to 01.25.495);
Stefano Luigi Mangia: extended vocals (track 15 from 06.09.782 to 07.12.642);
Massimo Silverio: lead vocals (track 8), cello (tracks 8, 9), electric guitar (track 9);
Paola Tagliaferro: all mothers' voices (track 8 from 0.11.371 to 0.32.362 and from 03.03.293 to 03.25.955), zither (tracks 8, 14);
Paola Tozzi: vocals (track 17);
Vittorio Nistri: synth, electronics (track 15, 17), classical guitar (track 15), pre-edit (track 15);
Stefano Giannotti: synths (tracks 5, 9), electric piano (track 9), prepared piano (track 7), drums and percussion (track 9), harmonium (track 9);
Gianni Lenoci: prepared piano (track 5);
Camillo Pace: double bass (tracks 13, 15);
Francesca Badalini: grand piano (tracks 4, 16), prepared piano (track 4);
Andrea Grumelli: frethless bass, bass guitars (tracks 2, 4, 15);
Andrea Quattrini: drums, percussion, electronics (tracks 4, 7);
Stefano Ferrian: electric guitar (tracks 3, 15);
Raoul Moretti: electrified harp (track 15);
Andrea Murada: self built percussion, percussion from all over the world (track 16);
Fabio Amurri: piano (track 7);
Pierpaolo Spirangle Caputo: electrified self-built ghironda (4-16);
Mimmo Frioli: drums, percussion, pre-edit, recording (tracks 3, 10, 11, 12);
Giovanni D’ Elia: bass guitar (tracks 3, 10, 11, 12);
Danilo Camassa: classical and electric guitar (tracks 10, 11, 12);
Mauro Corvaglia: electric self built guitar (track 3);
Domenico Liuzzi: tenor sax (tracks 3, 15), bassoon (tracks 15, 16);
Max Pieretti: synth – closing section (track 7);
Fulvio Manganini: stick (track 7);
Alessandro Palma: drums (track 16);
Ulisse Tonon: accordions (tracks 7, 14), electrified accordion (track 14), prepared piano (track 14);
Sisto Palombella: accordion (track 1);
Claudio Pirro: electric and acoustic guitars (track 2);
Marco Lucchi: Mellotron (track 8);
Luca Olivieri: glockenspiel (tracks 4, 15);
Lorenzo Sempio: guitars, guitar synth, noises & effects (tracks 1, 8);
Jody Bortoluzzi: synth, suggestions (track 8);
Ivano Nardi: drums, percussion (track 15);
Franco Poggiali: synth (track 17);
Daniele Onori: electric and acoustic guitars (track 17).

  So you see Milano is not alone at all, and the additional artists are at work, breaking new ground, keeping elements dangling in the air, dancing like electric butterflies. After proper audition, you may find yourself in another frame of mind, and one that bleeds with discovery. If you can find a more powerful and filled to the brim releases of any type, swipe that up as well. Meanwhile, take some time to get intimate with this one. HIGHLY RECOMMENDED.

 ©Reviewed by Lee Henderson  5 - 10 -2022

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