It is a concept dedicated to the flowing time that Tiziano Spillari has enclosed within his album Fuori Tempo Massimo. The 59-year-old musician from Verona narrates life with a creativity that allows him to filter with sensitivity nuances and priorities, from the height of an experience that, as often happens, alternates joys to sorrows, smiles to sufferings.
So the opener Il tarlo, which focuses precisely on the anxious ticking of time, is followed by a song like Precipitosamente, in which the author recalls the haste to achieve that permeates youth. And he already does so by emphasizing that musically the album is varied, following Spillari’s sensibility as the only way.
There is also Nel profilo del silenzio, in which he commemorates a dear friend who died too soon and missed some opportunities for true happiness. And there is no lack of visions linked to social issues, as in Senza un perché (in which he sings “Ma non lo vedi quanto presto si fa sera”), as well as the dreamy memories of Era il nostro tempo.
Tiziano Spillari does not want to teach anything to anyone, but for this very reason he manages to instill an uncommon depth within the words, forged around an important sound fabric, in which his experience as a classical pianist comes out. You can hear it in the guitar solos, in the violins and in the use of winds in La terra brucia.
A separate discussion deserves Una risposta nel vento, that Tiziano dedicates to his father and that opens with the news hastily given by a relative. Another moment that, together with the other 11 songs contained in Fuori Tempo Massimo, cannot but make us think of the importance of time, of how we live it, of the value we give it.
The proposed genre is a rock that crosses with folk (listen to Incomodo to believe), without excesses but with a measured wisdom. The production gives that extra touch, thanks to the work of Francesco Ambrosini in the Duck Chagall studio. An appreciable result in the choice of individual sounds.
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