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The first song is called “Hey Little Girl”, it needs no exclamation mark and seems like a spring flower that has been found by chance on the wayside and picked. Just a few, ever so precise as they are briefly plucked, chords on the acoustic guitar along with a few verses of penetrating poetry. Ezio Lunedei does not need more when completing a small collection of songs along with his band mate, Mark “Booga” Fowell. If this song were a part of a soundtrack, you would have to imagine a slightly love-sick teenager, on a dewy meadow, making his way to his sweetheart.

Then the next song is called “Indian”, it’s backed by a stupendous beat and a distorted rock guitar and would need a Quentin Tarantino film to become a soundtrack. The duo persistently refuses, like virtuosos, to be labeled with a specific genre. And because neither of the two are fans of months of fine-tuning and repetition in the studio, their rare albums sound as if they simply pulled them out of their hat. Do or die. But such wonderful music makes no one wish to die.

The fact that this band, named after their frontman, Ezio, has not long found a permanent place in the international charts, is due in part to many of their gems, from time to time seeming similar to various bands of rock history, without ever being guilty of plagiarism. Often times, it’s a sense of Dèjá-Vu in just a few chords, and Lunedei & Fowell always return to their greatest love, the acoustic Folksong, from which they, however, have expelled all form of folkloric. “Been A Long Time Coming” then suddenly sounds as if Van Morrison had pondered his best virtues.

In other words, Ezio makes wonderfully vexing music. Ezio is something different than the rest and pleasantly unpredictable. A perfect example is, “The Gypsy Song”, instrumented with a Django Rheinhard guitar and a scratchy-rhythmic violin, everyone has heard something like it before, but no one would expect it here. After that one wouldn’t have been surprised by a Tango including a Bandoneon or a pure Punk Rock, but neither happens, and that is once again the extraordinary.

We close out with “Down,Down,Down”, the final song of this wondrous album, which reminds a bit of Brecht & Weill’s song, “Tell Me The Way To The Next Whiskey Bar”, yet also possesses something from the southern ranges of a Tom Waits song. In addition to Lunedei & Fowell, such songs are only still written by street musicians, whose folk the songs of the duo do not seldom sound like. If someone were under the impression that this formidable duo, along with their alternating accompaniment, is constantly sailing past their chance at success, then it must be said: this is by no means so. The Ezio concerts are generally sold-out, which in turn is a hopeful sign. There is a parallel universe next to all that is considered mainstream, this is also thanks to “Daylight Moon”.


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