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El Torpe - Movin On [NMR019]




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El Torpe: "Movin' On is, except for the opening track, a cover album. It is the result of many years of practices and experiences that have sometimes been poles apart and that have converged into one single work. I sometimes imagine it as some sort of Frankenstein, due to its bizarre collage of influences (blues, drones, industrial, electro, pop), because it was recorded, pre-produced, re-produced, re-thought in many different places and historical moments of my life and because many people have contributed to it in different ways ("many" in the standards of he who has now been accustomed to working alone). I have chosen the tracks from the history and tradition of the blues that have always been going round my head. I don't claim nor do I believe to have had any kind of musicological approach. On the other hand, I sure hope to have been able to confer my own personal mark. I hope the outcome to be difficult if not impossible to pigeonhole and that the influences one can perceive may have a different weight for each individual listener. Lastly, Movin' On is a title that carries all of the blues' ambiguity. One day it sounds like an enthusiastic exhortation, the next it has the bitter taste of disillusionment."

El Torpe - MOVIN' ON

1. Movin' On (El Torpe) - 5'25"

2. Every Night (Big Joe Williams) - 5'08"

3. Come Back Baby (Walter Davis) - 5'18"

4. Sixteen Tons (Merle Travis) - 4'02"

5. Baby Mine (Traditional) - 5'35"

6. Rock Me Baby (Muddy Waters) - 6'35"

7. In the Evening (Big Bill Broonzy) - 5'39"


Music and arrangements by El Torpe


El Torpe:programming, lead and backing vocals, piano on 2

Cristiano Calcagnile: drums on 1, 2, 3, 4, 5, 6; piano on 2

Ezra: Moog on 3

Fabio Volpi: sequences on 6

Gabrio Baldacci: guitars on 2, 3, 4, 6

Libero Mureddu: clavicord on 5, acoustic guitar on 7;


Produced by El Torpe

Mixed by Ezra at No.Mad Studio

Mastered by Gianluca Patrito at G-EFFECT Mastering Studio

Published by No.Mad Records

Graphic layout by Claudia Scarpa

Photo by Thania Lopez

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