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Enrico Olivanti

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"Love letters beneath the doric tomb" is a love declaration to our time in the form of an intimate musical journey recorded between Berlin, Dresden and Rome and entirely played by the composer, guitarist and producer Enrico Olivanti on electric guitars, acoustic guitars, slide guitar, synthesizers, percussions, piano, voice, sound design, bouzouki, tibetan bells and composition and co-produced and mixed by Stefano Barone.

The Album’s title comes from a true story about two secret lovers in Rome during the 20s of the 20th century. The two sent each other love letters for five years but toward the mysterious end of their relationship they decided to burn them just to hide any sign of the secret relationship.

The man decided to bury them  beneath a doric tomb on the ancient via Appia instead and they have been found again 70 years after.

Inspired by this story, Enrico Olivanti built a narration  through eight compositions where the spontaneity and the enormous care for sound and form through the many different styles can exist together in one work: from the drone-based Oltre la Curva and Laos Ergon, through the hypnotic and meditative Piani and Lo sguardo introverso, the dramatic and intense Mòria and Wuhan or the romantic Un abbraccio, to the final Song as title track Love letters beneath the doric tomb. 

releases

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Love Letters Beneath The Doric Tomb

 

Album release: 07 OCT 2022

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Lo sguardo introverso

 

Single release: 05 AUG 2022
 

“Being alone one Summer Night in the own room can become  the best inspiration to stay up and let the inner world flow out through the own fingers on a Synthesizer. Something was moving in myself and wanted to be heard and then to be played. Someone was screaming in a very gentle way, asking to become sound and music. It was me and my inner World asking to be seen and to be allowed to sing a Melody for me.

So “Lo Sguardo Introverso” came to me in the Night as a completely improvised Music with her wise simplicity”

Piani

 

Single release: 26 AUG 2022
 

“Piani was my first attempt in a kind of abstract way of making music with electronic devices.

After having composed and released a lot of music for ensembles, orchestras and bands in several different combinations I felt like I was missing a very important side of me through my own Music. The not-symmetrical, irrational, the ambiguity, the irregularity that lived in me and in the Reality around me were demanding their place in my musical voice.

Working on Piani meant just drawing a multi-layered reality through sounds, rhythms, harmonies and atmospheres in an interesting mix between improvisation, minimalism and expressionism.”