Delrei: Desolation and Radiation (Digital)

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Product Description

1 Solitario
2 Into the Wasteland
3 Nowhere to Ride
4 Ensenada
5 Far from Here
6 Get Lost Blues |
7 Lonely Night
8 Dusk
9 Country
10 Mysterious Traveler
11 Daydream "It’s a territory where the nights are awash with an eerie chill, a land of crimson horizons drenched in melancholy solitude. Each note summons forth an ethereal spectre that draws you into a hypnotic trance, unveiling an arid yet mesmerizing world of forlorn solitude. This is the new West." -Alice Teeple

Luminous Dash "Desolation and Radiation is an absolute winner and a must for anyone who likes it a bit darker. DELREI may have written and played the surprise of the year." -Serge Timmers

Exposé "Every single cut speaks for itself, painting its own picture without any apologies, each an amazing collection of atmospheres and melodies that builds on all the others, taken as a whole Desolation and Radiation is a truly unique listening experience." -Peter Thelen

Genres: Rock, Spaghetti Western, Americana, Soundtrack, Blues
RIYL: Ennio Morricone, Chris Isaak, Angelo Badalamenti, David Lynch, James Wilsey

The shadowy twang of electric guitars, the dusty spectral melodies, the driving orchestral timpani, the rural instruments like banjo, harmonica & mouth harp … these are the elements with which Desolation and Radiation scores a mythic western of the future. Italy’s Alessandro Mercanzin imagines a visionary dystopia where a solitary figure navigates an inhospitable post-nuclear desert. It’s a hypnotic land of cold haunted nights, lonely red vistas and somber personal solitude.

Alex reflects, “Desolation and Radiation is a wordless vision of a lost world from the future. To me it’s melancholy, filled with lost dreams. With a ghostly sound in my mind, I wanted to pull off dark intriguing riffs, and I found I could say a lot of things with a few whispered notes from my guitars. These songs paint dramatic scenes that take me to a reverb-drenched wasteland in a parallel world.”

Aided by producer Maurizio Baggio (recently producing Soft Moon, Boy Harsher, & Nuovo Testamento) Alex plays with genres including the Giallo-pulp that scored his personal musical evolution while toying, avoiding and embracing the clichés of Italian Spaghetti Westerns. The adventurous sound of the album is coaxed from various guitars, vintage instruments, reverbs, and the marranzanu (a traditional Sicilian harp.) Alex plays most of the instruments and is augmented by Maurizio’s vintage synths and old 60s organs, Michele Tedesco’s trumpets on “Nowhere to Ride,” and Stefano Miozzo’s pedal steel guitar on “Far from Here.”

In the end, Desolation and Radiation has its veiled message: a warning to prevent the mistakes of the past from transforming our present into a terrifying future.

DELREI: Guitars, Bass, Synth, Drums, Harmonica

🎛️ Produced , engineered and mixed by Maurizio Baggio (@Dj Spada) from “La Distilleria Produzioni Musicali”.

So so so many thanks to these great people that helped me throughout this journey :

Stefano Miozzo : Pedal steel on song “Far from here”
Michele Tedesco : Trumpets on song “Nowhere to ride”
Marco Rapisarda : Mentoring & Consulting
Lucrezia Pegoraro : Photography
Riccardo Michelazzo : Artwork
Flybyartist digital creator : Artwork

Projekt release: July 7, 2023

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  1. Reviews Editor

    From Buscadero

    Put on Desolation and Radiation, the first album by guitarist Alessandro Mercanzin aka DELREI, and you find yourself listening to a piece, Solitario, which seems to have been written by Angelo Badalamenti for a noir western directed by David Lynch, but played by Earth. Bombshell start to an album that exorcises a dystopian and post-apocalyptic future to the sound of twanging guitars, banjos, harmonicas and all the paraphernalia to develop the best possible Western soundtrack. Maestro E.Morricone supervises everything, obviously, but Mercanzin is good at putting more elements into play, thanks to a good instrumental technique (in addition to the guitar, he also plays almost all the other instruments heard on the album), a writing effective, the excellent sound developed by Maurizio Baggio (@ladistilleria36061) and the contribution of @micheletedesco96 (trumpet) @stefanomiozzo (pedal steel) in a couple of pieces. Here then emerge desert landscapes (Into The Waste-land), the border with Mexico (Nowhere To Ride) and those desolate spaces so well described previously by the first @casadecalexico (Ensenada, sensational) or by Guano Padano @g_padano1980 (Far From Here, a Country whose name says it all). With Get Lost Blues it flows into the twelve bars of John Lee Hooker in search of an oasis in the midst of sand, rocks and saguaros, while the intriguing Mysterious Traveler features a shot worthy of Marc Ribot. Put on your boots, stock up on water and get ready for the journey. It’s worth it”. -Lino Brunetti

  2. Reviews Editor

    From Rock Impressions
    Delrei is the project of Alessandro Mercanzin, a multi-instrumentalist who in the past played in the band Mudlarks. This is his first album.

    The album is inspired by the music of the westerns produced by Morricone, by post rock, by an apocalyptic vision that also embraces science fiction and obviously everything that derives from Leone’s films, from Lynch to Tarantino, an epic imaginary that marries with “desert blues”, which is basically the musical scope of this Desolation and Radiation. I also like to remember the song Gun Called Justice by Lords of the New Church (side of the cover of Like A Virgin), a legendary maxi single. An instrumental album of eleven melancholic and “battered” ballads, I think of dusty gunslingers, duels under a scorching sun and solitary antiheroes dispersed in a west suspended between past and future. A theme dear to many films which often imagines a post-nuclear future where we return to a life on the road among snakes and guns. Listening to Alessandro’s album it is not difficult to imagine yourself in these contexts and his music is certainly very effective. What makes Mercanzin’s music interesting is the link with post rock, which gives a modern and current touch to his sound.

    An interesting first work that could reveal a future full of surprises. Delrei is a name to keep an eye on. -GB

    Original Italian:
    Delrei sono il progetto di Alessandro Mercanzin, un polistrumentista che in passato ha militato nella band Mudlarks. Questo è il suo primo album.

    Il disco si ispira alle musiche dei western prodotte da Morricone, al post rock, ad una visione apocalittica che abbraccia anche la fantascienza e ovviamente tutto quello che dai film di Leone ne è derivato, da Lynch a Tarantino, un immaginario epico che si sposa col “desert blues”, che in fondo è l’ambito musicale di questo Desolation and Radiation. Mi piace anche ricordare il brano Gun Called Justice dei Lords of the New Church (bside della cover di Like A Virgin) un maxi single mitico. Un disco strumentale di undici ballate malinconiche e “malconcie”, penso ai pistoleri impolverati, a duelli sotto un sole cocente e ad antieroi solitari dispersi in un west sospeso tra passato e futuro. Un tema caro a molta filmografia che spesso immagina un futuro post nucleare dove si torna ad una vita on the road fra serpenti e pistole. Ascoltando il disco di Alessandro non è difficile immaginarsi in questi contesti e la sua musica è sicuramente molto efficace. A rendere la musica di Mercanzin interessante è il legame col post rock, che da un tocco moderno e attuale al suo sound.

    Una interessante opera prima che potrebbe rivelare un futuro pieno di sorprese. Delrei è un nome da tenere d’occhio. -GB

  3. Reviews Editor

    From Mescalina

    A post-atomic world; an atmosphere of a film by David Lynch or Ridley Scott in Blade Runner, but set in a West to the West of all possible Wests; and, above all, torn sounds, yet miraculously coordinated with each other. This is the musical, visual, cinematic and one might say historical scenario evoked by the Venetian guitarist and multi-instrumentalist Alessandro Mercanzin, alias Delrei, in his surprising work with the significant title Desolation and Radiation.

    The hero that the musician describes is a loner (and in fact one of the most intense tracks is entitled Solitario), a wanderer with a restless past, a man who travels seeking company in nature and in the echoes that it can evoke in his imagination, and who struggles with regrets and memories, as Mysterious traveler suggests, from the riff that refers to Chris Isaak’s Wicked Game. An inhabitant of deserts, which Delrei manages to focus on in the versatility of his experiences, without adding words, but favoring sounds, which range freely between eras and ancestries, recreating them in an original way.

    Listen, for example, to Morricone’s Ensenada, to understand that we are not only in those vicinity, but we can also go elsewhere, closer to us, or even ahead of the times. In fact, a postmodern restlessness circulates in all the tracks, as if the sounds shied away from the description of cinematic situations, to fix themselves in the dynamics of the dream – or nightmare – rather than reality (as in Dusk).

    Who knows if Delrei is planning a collaboration with his compatriot Don Antonio, or with Guano Padano; an effective and very modern synthesis would emerge, which would demolish once and for all the stereotype that crucifies the spaghetti western in a caricatural, if not grotesque, dimension. This work already constitutes an important step forward. -Laura Bianchi

    Original Italian:
    Un mondo postatomico; un’atmosfera da film di David Lynch o del Ridley Scott di Blade Runner, ma ambientato in un West a Occidente di tutti i West possibili; e, sul tutto, suoni lacerati, eppure miracolosamente coordinati tra loro. È questo lo scenario musicale, visivo, cinematografico e si direbbe storico, evocato dal chitarrista e polistrumentista veneto Alessandro Mercanzin, alias Delrei, nel suo sorprendente lavoro dal significativo titolo Desolation and Radiation.

    L’eroe che descrive il musicista è un loner (e infatti si intitola Solitario una delle tracce più intense), un errante dal passato inquieto, un uomo che viaggia cercando compagnia nella natura e negli echi che essa sa evocare nella sua immaginazione, e che lotta con rimpianti e ricordi, come suggerisce Mysterious traveler, dal riff che rimanda a Wicked Game di Chris Isaak. Un abitante di deserti, che Delrei riesce a mettere a fuoco nella poliedricità delle sue esperienze, senza aggiungere parole, ma privilegiando i suoni, che spaziano liberamente tra le epoche e le ascendenze, ricreandole in modo originale.

    Si ascolti, per esempio, la morriconiana Ensenada, per capire che non siamo solo in quei paraggi, ma possiamo spingerci anche altrove, più vicini a noi, o persino anticipando i tempi. Circola in tutte le tracce, infatti, un’inquietudine postmoderna, come se i suoni rifuggissero dalla descrizione di situazioni cinematiche, per fissarsi nella dinamica del sogno – o dell’incubo -, più che della realtà (come in Dusk).

    Chissà se Delrei ha in programma una collaborazione col connazionale Don Antonio, o coi Guano Padano; ne emergerebbe una sintesi efficace e modernissima, che demolirebbe una volta per tutte lo stereotipo che crocifigge lo spaghetti western in una dimensione caricaturale, quando non grottesca. Questo lavoro costituisce già un importante passo avanti. -Laura Bianchi

  4. Reviews Editor

    From The New Noise

    Gringo! Don’t worry, Delrei is for music. This summer Alessandro Mercanzin moved like a snake in the wastelands for an album of eleven songs that have the trembling visions of the Western given by the intersection of the heat with the horizon. Around for several years, he has frequented the shores of rotten and atmospheric sounds, especially with Mudlarks and Universal Sex Arena. Here he is elegant, poignant, dramatic and in his epic he adopts moves and gait that we know well and that many composers have used before him. Everything, if you think about it, would play against yet another lonely cowboy… but, however, Delrei is precisely the one not to be underestimated, the outsider who knows how much energy and how much emphasis to place between a guitar twang, a rattlesnake, a rattle and a trumpet. He is therefore able to forge a path that has little to envy of the masters. The record spins like a beauty, when the sound expands as in “Ensenada” the panorama opens up on chiaroscuro accents and timbres, which seem massive and powerful in character rather than in form, airy and enveloping. Then when the blues of “Get Lost” arrives it seems to come from the afterlife, between smoke and fog, dark hisses and shivers down the spine. What was that story about the devil at the crossroads? 11 songs perfectly finished and dropped like a royal flush that have found a home in Portland, from Projekt Records. So what can we say about this premiere in a new guise? Enchanted. -Vasco Viviani

    Original Italian:
    Gringo! Tranquilo, Delrei para la musica. Quest’estate Alessandro Mercanzin si è mosso come un serpente nelle terre desolate per un disco di undici brani che del Western hanno le tremolanti visioni date dall’incrocio del caldo con l’orizzonte. In giro da diversi anni, ha bazzicato le sponde di sound marci e atmosferici, soprattutto con i Mudlarks e gli Universal Sex Arena. Qui è elegante, ficcante, drammatico e nella sua epica adotta mosse e incedere che ben conosciamo e che molti compositori hanno utilizzato prima di lui. Tutto, a pensarci, giocherebbe contro l’ennesimo cowboy solitario… però, però, però Delrei è proprio quello da non sottovalutare, l’outsider che sa quanta energia e quanta enfasi riporre tra un twang di chitarra, un crotalo, un sonaglio e una tromba. Riesce quindi a imbastire un percorso che poco ha da invidiare ai maestri. Il disco gira che è una bellezza, quando il suono si dilata come in “Ensenada” il panorama si apre su accenti e timbri chiaroscurali, che sembrano massicci e potenti nel carattere più che nella forma, aerea ed avvolgente. Quando poi arriva il blues di “Get Lost” sembra venga dall’aldilà, fra fumi e nebbia, sibili tetri e brividi sulla schiena. Com’era quella storia del diavolo all’incrocio? 11 brani perfettamente rifiniti e calati come una scala reale che hanno trovato casa a Portland, da Projekt Records. Che dire quindi di questa prima sotto nuova veste? Desculpe para el retraso Delrei, encantado. -Vasco Viviani

  5. Reviews Editor

    From Roots
    Alessandro Mercanzin aka DELREI, a lone knight who crosses on his black steed the desolate plains of that godforsaken America….Gateway to this psycho blues – spaghetti western hell or Desolation And Radiation. Just a little “starter” for let you enter a very “cinematographic/visual” work (from David Lynch/Angelo Badalamenti up to Ennio Morricone) with nocturnal, unhealthy, enveloping atmospheres…..A journey/perdition at the end of world (or of a world) where DELREI (guitar, bass, synth, drums, harmonica) will gradually be accompanied by excellent sidemen (Stefano Miozzo on pedal steel and Michele Tedesco on trumpet). Premise….a work that is not easy to listen to in these lean times (lean in musical culture, of the past to be dedicated to non-liquid listening, of interest from the usual nothing that is served to us daily), a sound that due to its own “historical” characteristics you may or may not like (we do we prefer in the more “sober” and purely blues moments, Solitario, Get Lost Blues, Mysterious Traveler, Ensenada but it’s all just a matter of personal taste). DELREI is compositionally “other” (writing well would not give him due credit… these days there are more good people than “other” and we prefer “other”), “dysfunctional”, “vintage”, probably “disposable”…. we don’t know but its (which is also ours and that of this fucking world) desolation fascinates, imperceptible abyss of a nothing daily newspaper. From Roots! that’s all and as always happy listening. -Simone Rissotti

    Original italian:
    Alessandro Mercanzin in arte DELREI, un cavaliere solitario che in sella al suo nero destriero attraversa le desolate pianure di quell’America Sorvolata dimenticata da dio….Porta d’ingresso a questo psycho blues – spaghetti western l’inferno ovvero Desolation And Radiation. Solo un piccolo “antipasto” per farvi entrare in un’opera molto “cinamatografica/visiva” (da David Linch/Angelo Badalamenti fino ad Ennio Morricone) dalle atmosfere notturne, malsane, avvolgenti…..Un viaggio/perdizione alla fine del mondo (o di un mondo) dove DELREI (chitarra, basso, synth, batteria, armonica) sarà via via accompagnato da ottimi sideman (Stefano Miozzo alla pedal steel e Michele Tedesco alla tromba). Premessa….lavoro di non facile ascolto per questi tempi magri (magri di cultura musicale, di un tempo da dedicare ad un ascolto non liquido, di interesse dal solito nulla che ci viene propinato quotidianamente), un sound che per sue stesse caratteristiche “storiche” potrà piacere o meno (noi lo preferiamo nei momenti più “sobri” e puramente blues, Solitario, Get Lost Blues, Mysterious Traveler, Ensenada ma appunto è tutta e solo una questione di gusti personali). DELREI è compositivamente “altro” (scrivere bravo non gli renderebbe il giusto merito…di questi tempi ci sono più bravi che “altro” e noi preferiamo “altro”), “disfunzionale”, “vintage”, probabilmente “a perdere”…. non lo sappiamo ma la sua (che poi è anche la nostra e quella di questo cazzo di mondo) desolazione affascina, impercettibile baratro di un quotidiano nulla. Da Roots! è tutto e come sempre buon ascolto. -Simone Rissotti

  6. Reviews Editor

    From A Closer Listen

    The immediate association is with the spaghetti western scores of Ennio Morricone, but younger listeners may connect Desolation and Radiation with the music from Red Dead Redemption. It’s no surprise that DELREI (Alessandro Mercanzin) is from Italy, as his music is soaked in cinematic tradition; the liner notes declare that the artist “avoids and embraces the clichés” of the music he loves. This is a good thing, as it allows an access point for fans of the mini-genre without being mired in the past.

    “Solitario” begins with a shimmer, then proceeds to patient percussion and languid guitar. Such timbres recall other bands who have walked this road: Grails, Wolfhand, Rodeo, Murder by Death. A shadowy figure emerges from an apocalyptic landscape; the sky is red and filled with dust. A town is in need of saving, but will he be its salvation or its doom? Vintage instruments, including 60s organ and synth, rustle around the background like civilians fleeing the impending duel. An early high mark arrives in “Nowhere to Ride,” as Michele Tedesco’s trumpet lends a heroic tone to Mercanzin’s already noble bass.

    While the album is wrapped in dramatic nostalgia, it also warns of a potential future. The artist suggests that should technology fail, the old western landscape may re-emerge, which would make the album prescient rather than referential. This “reverb-drenched wasteland” lies on the other side of environmental collapse and nuclear war. As in so many post-apocalyptic scenarios (Road Warrior, The Stand), strong personalities will vie for power, and heroes and villains will emerge. “Dusk,” populated by snares and a growing sense of menace, implies a confrontation at world’s end. In its wake, the jaunty “Country” comes as a relief, far more “Rawhide” than “Unforgiven.” One imagines the cavalry riding into town, the populace cheering, free drinks for all. But then again, the beauty of this release is that listeners may invent their own plot lines. Grand finale “Daydream” simultaneously suggests the imagination of the artist, listener and town. Perhaps there is somewhere to ride after all. -Richard Allen

  7. Reviews Editor

    From Gagarin

    Instrumental project by Alessandro Mercanzin as Delrei. With Desolation and Radiation, Mercanzin immerses us in a bath of spaghetti westerns, Morriconian echoes intertwined with the dreamlike and mysterious space of Lynch and Badalamenti.

    It would certainly be the perfect soundtrack for a post-apocalyptic film. As soon as you press play your mind will imagine photographs and stories of deserts, bombed and devastated cities where human beings or what is left of them tries to survive. And if we look out the window or just on social media we can glimpse that desolation that modern society has given us, making us believe that it is progress when in reality everything is distorted and twisted and we realize that we are increasingly alone.

    The only way to survive all this is to absorb the radiation from this album which will enter your brain like lightning. Stop and listen to this album. In silence and let your imagination go. Be creative. Only in this way will we be saved. Thanks to Delrei for this incredible journey. -Cristina Valentini

  8. Reviews Editor

    From Il Circolo
    The album of the month
    Try to imagine the Morricone-inspired Blonde (but skilfully adapted to the Sipstrassi Cycle by David Gemmell) who finds himself wandering in a deserted post-apocalyptic landscape and, along the bumpy path, encounters a remote town called Twin Peaks, where – between distorted reflections, evanescent mirages and the howling of a furious sandstorm – he captures the distant sound of a dark, hypnotic, alien guitar, deciding to find its origin.

    This could be the first scene of a hypothetical film that had as its soundtrack Desolation And Radiation, a splendid first work by Alessandro Mercanzin, a Venetian musician who has already established himself in the Italian alternative scene and is now the protagonist of a solo project in which – experimenting with guitar, bass , drums, harmonica and synthesizers – he searched, found, shaped and built his sound.

    The eleven tracks on the album are able to satisfy listeners of blues and country, rock and soundtrack, as well as fans of the cinema of David Lynch and Sergio Leone (and in a certain way also of Quentin Tarantino, I would add), as well as all those who recognize the excellence of Projekt Records, a historic and highly refined American label that in figure of the founder and leader Sam Rosenthal – did not miss this tricolor jewel, which demonstrates how, if desired, even from the Bel Paese there are still some musicians capable of churning out original ideas and making them known to the world (even if only thanks to enlightened artists from overseas).

    A producer (Maurizio Baggio, for La Distilleria Produzioni Musicali), two video singles published (Get Lost Blues, excellent, and Far From Here, a little less), three unforgettable songs (the opener Solitario, the pulsating Into The Wasteland, the abysmal Dusk). At four we attack. Even without a stage. Nevado. -Luca Morzenti

    Original Italian:
    Il disco del mese
    Provate a immaginare il Biondo di morriconiana memoria (ma sapientemente adattato al Ciclo delle Sipstrassi di David Gemmell) che si trova a vagare in un desertico paesaggio post-apocalittico e, lungo l’accidentato cammino, incontra una sperduta cittadina chiamata Twin Peaks, dove – fra riflessi distorti, evanescenti miraggi e l’ululare di una furiosa tempesta di sabbia – coglie il lontano suono di una chitarra oscura, ipnotica, aliena, decidendo di trovarne l’origine.

    Potrebbe essere questa la prima scena di un ipotetico film che avesse come colonna sonora questo Desolation And Radiation, splendida opera prima di Alessandro Mercanzin, musicista veneto già affermatosi nella scena alternativa italiana e ora protagonista di un progetto solista in cui – cimentandosi con chitarra, basso, batteria, armonica e sintetizzatori – ha cercato, ha trovato, ha modellato e ha costruito il suo suono.

    Le undici tracce del disco sono in grado di soddisfare gli ascoltatori di blues e di country, di rock e di soundtrack, così come gli appassionati del cinema di David Lynch e Sergio Leone (e in un certo qual modo anche di Quentin Tarantino, aggiungerei), oltre a tutti coloro i quali riconoscono l’eccellenza della Projekt Records, storica e raffinatissima etichetta statunitense che nella figura del fondatore e condottiero Sam Rosenthal – non si è lasciata sfuggire questo gioiellino tricolore, che dimostra come, volendo, anche dal Bel Paese c’è ancora qualche musicista in grado di sfornare idee originali e di farle conoscere al mondo (anche se solo grazie a illuminati artisti d’Oltreoceano).

    Un produttore (Maurizio Baggio, per La Distilleria Produzioni Musicali), due i videosingoli pubblicati (Get Lost Blues, ottimo, e Far From Here, un po’ meno), tre i brani indimenticabili (l’opener Solitario, la pulsante Into The Wasteland, l’abissale Dusk). Al quattro si attacca. Anche senza palco. Nevado. -Luca Morzenti

  9. Reviews Editor

    From Rock Nation
    Sound fresco that evokes vivid images, inspired by the Spaghetti Western
    I bless the prof. Prussia, a middle school music teacher, who made us listen to pieces of music and synaesthetically draw what came to mind; because now that I have Desolation and Radiation by DELREI in my hands, released on July 7th by Projekt Records, the soundtrack of a hypothetical radioactive and futuristic Western, I can’t help but try to match images to music. The project by DELREI, alias Alessandro Mercanzin, is in his own words an imaginary dystopia in which a solitary figure navigates an inhospitable post-nuclear desert. The first reference that comes to mind is the Spaghetti Western genre (here used as an explicit narrative territory, and sometimes deliberately transgressed) but which is actually an excuse for a musical discourse that has Rock and Blues roots and then ranges into the Tarantino genre sometimes echoing Psychedelia. Aided by producer Maurizio Baggio and his vintage synthesizers and Sixties organs, Mercanzin paints this sound fresco that evokes vivid images, inspired by genre references.

    “Solitario” is a dissonant and waiting song, like an arduous path to gain freedom and probably refers to the journey suggested by DELREI which continues in “Into The Wasteland”, with suspended tones and a slow blues rhythm strengthened by a cadenced. “Nowhere to Ride”, of all the songs that recall Lordan’s Apache, is the one that does so the most, even if the homage is inflected with a disturbing variation and harmonica obligatoris that recall the apocalyptic message of the album. Guest Michele Tedesco on trumpets. With “Ensenada” the story seems to get worse, it must be a very difficult moment for the protagonist who here seems to be exploring an abandoned tunnel (?!) expecting the worst, when a poignant melody of stringed instruments, perhaps classical guitar, introduces a electric opening that makes us understand that we have arrived in the… bay?

    “Far from Here” is another easy-listening moment of transition that perhaps accompanies another ride, or that could serve as the opening theme of a TV series (young people listening: they were the TV series of the past) underlined by the pedal guitar steel by Stefano Miozzo. Small technical note, the pedal steel is not a normal guitar played with slide/bottleneck as the sound might suggest, but a unique and particular amplified instrument equipped with pedals operated with feet and knees, created by Paul Bigsby in the 1950s. End of the nerd corner. “Get Lost Blues” is the following song, with steps in the dark and the cautious advance of a guitar in a pressing Blues, which brings the narrative to the conclusion of a hypothetical day because it is followed by “Lonely Night”. This lounge-like time and could almost correspond to a spy scene, if they were included in westerns.

    But after every night, even post-nuclear, the sun rises again, and therefore with “Dusk”, dawn of waiting, the problems evidently begin because the beginning is disturbing, and the echo and reverberation of this slow tempo do not promise anything good. There’s a wait I don’t like, Ringo. In fact, the song takes on a slow but inexorable rhythm towards the end, which leads into the expectant sounds of the following “Country”. This is a fun ride of entertainment, complete with marranzanu, tremolo guitar and banjo. “Mysterious Traveler” is full of saturated guitar sounds and is an uptempo Blues with Western guitars and harmonica. “Daydream” concludes the journey with a South American rhythm and Spanish-like flow, a rhythmic piece that does not add hope but makes us hypothesize about the survival of our species from the nuclear holocaust, while still strengthening the central message of the work, that war cannot be a solution. -Nicola Rovetta

  10. Reviews Editor

    From Rockit

    Through the instrumental project Delrei, Alessandro Mercanzin aims to make the folk-rock-blues matrix something truly futuristic from a production standpoint. The result seems to be very interesting.

    In this world, especially on this side of our borders, many choose to bask blissfully in the ranks of cooked, eaten, digested and regurgitated genres. Partly because, quite simply, it is what they honestly desire, but also partly so as not to risk running into attempts at evolution-as much personal as genre-based-apparently harmless but, in fact, preponderant due to a continual need to blend or open up toward solutions that are not necessarily divergent but, if nothing else, capable of leading the starting core toward alternative solutions that would allow them to avoid unnecessary stagnation and deleterious involution within an increasingly lonely and isolated artistic self.

    From this deleterious danger of absolute primal fossilization has wisely chosen to flee with both feet the Venetian guitarist and multi-instrumentalist Alessandro Mercanzin, the creator of an instrumental folk-rock-blues project conducted under the name Delrei and very adept at bringing into being sonorities that are widely recognizable but revised through purifying windows that let emerge a strength and emotional power otherwise irreconcilable with other classical-sounding solutions.

    The perceptual conception with which Mercanzin approaches the matter is so solid and real as to make the spectrality of the compositions something easily recognizable and shareable, albeit revisited by an eye external to a real historical-territorial affiliation but no less intense than many equally considerable representations of an overseas matrix. His very personal vision of the concept of the frontier, however, is also married in a decidedly interesting way to an almost science fiction approach (Stephen King and the Black Tower?) that, by the very nature of the genre in question, places an even stronger emphasis on many aspects of reality in order to describe them in a way that would otherwise be too difficult to assume. And this is what Mercanzin does with his way of approaching his own compositions, that is, by advancing continuous hypotheses, yes, derivative but never enmeshed in sterile past-tense sectarianisms, aiming at ever more varied and divergent arrangements in order to achieve, if possible, a kind of Grail that restores new life as much to himself as to genre hypotheses in the round.

    Rather than crossing deserts or skirting new-world riverbanks, in an album like Desolation and Radiation it seems to make contact with and scrutinize the most sulfurous soul of the ghosts of restlessness that have dwelled precisely in that restless slice of the world for millennia, admiring its innermost essence through Baconian gazes that, inevitably, lead to audiovisual translations of a distinctly Lynchian slant (Solitario, Ensenada, Mysterious traveler). A stoutly black on white putting of one’s intentions, this, which does not distract attention – indeed draws it – from certain Neil Young-derived suggestions for fleeting – but not unambiguous – Jarmusch signature western experiments, although more concerned with melodic format than pure sound flow in the onomatopoeic direction (Into the wasteland).

    However, emerges from this, of course, a conspicuous genre predilection, even if morriconically translated on this side of our border (Country) while maintaining, however, also an auditory perspective – not even so much – strangely close to Blade Runner’s Vangelis (Nowhere to ride), although always inclined to the origins of any possible basic country folk infatuation (Far from here, Lonely night), not devoid of blues elements but always with a tastefully experimental matrix both in sounds and in their respective influences (Get lost blues).

    In spite of the fact that this is not something particularly new in terms of experimentation with original genres twisted and revisited according to strictly personal keys of interpretation, we are faced with a work of excellent caliber both compositional and in the organization and sonic management of the whole. Perhaps not among the best of this vintage’s prodisations but, without a doubt, a work to be openly held in consideration as to both stylistic and conceptual futurability. -Stefano Gallone

  11. Reviews Editor

    Off Topic

    Let’s pretend that Putin or the North Korean with the unwatchable hair had pressed the fateful button, human civilization would be wiped out in the space of a few seconds and only the luckiest would survive, certainly at a high price, finding themselves faced with a scenario of solitude and desolation: what would be the perfect soundtrack for this new dimension of life? It is provided to us by Delrei , born Alessandro Mercanzin, born in 1984. When he was born we were in the midst of the Cold War, films such as The Day After or Wargames , Rocky IV were on the big screenhe fights against Ivan Drago and the nuclear threat weighs on our heads like a boulder. He immediately became passionate about music and, at 13, began playing first the acoustic guitar, then the electric one. He joined the punk band 77 Mudlarks with whom he toured Europe and the States, a brief experience with Mastica and then joined the group Universal Sex Arena (La Tempesta Dischi) until, during the pandemic, he decided to undertake a solo project with the name by Delrei. On July 7 he released Desolation and Radiation on Portland’s Projekt Records label , which specializes in introspective, ambient and darkwave music.

    Talented and visionary, for his first solo work he proposes an ambitious and courageous project, because exclusively instrumental albums are rarely passed on official channels and reach the masses, except for illustrious names in the world’s discography or for important soundtracks, and it is no coincidence that I mention cinema: if you have the opportunity to listen to Delrei, the emotions aroused by the melodies of Ennio Morricone , in the classics of Sergio Leone , or by the Badalamenti/Lynch combination in Twin Peaks will resurface in you. Nothing new, you will object, of course, I would add, round and round the notes are always seven, but this boy knows how to touch the right keys and put his own spin on them: after all he is self-made, he plays practically everything, skillfully guided by the hands of the producer Maurizio Baggio ( Soft Moon , Boy Harsher , New Testament ), but above all he experiments, rediscovering vintage sounds and instruments, reverbs and even a Sicilian harp. The album, composed of eleven unreleased songs, exudes mystery, as can be understood from the opening track, Solitario , which, in the best Spaghetti Western tradition, evokes the dust of the desert, as does Into the Wasteland, and raise your hand if you don’t immediately think of that genius James Wilsey (yes, the one from Wicked Game , famous for his suspended notes). Epic trumpets in Nowhere To Ride , my favourite, with the Apache style riffles of The Shadows , as well as in Far From Here , dark and anguished sounds in Ensenada and Mysterious Traveler , a modern blues in Get Lost Blues and saloon melodies in Country .

    In short, for this surprising album, Delrei puts on the plate his wordless vision of a world coming from the future, melancholic, full of lost dreams, imbued with dark and intriguing riffs, which paint dramatic scenes, an at times ghostly sound capable of evoke many things with a few whispered notes. A work that leaves us in suspense, waiting to see the next episode first-hand, just to stay in the cinematographic field, and which gives us hope for the future of his career because, although it dredges up sounds belonging to the past of music, it stands out for originality and imagination, which doesn’t hurt at all, surrounded, as we are, by the plastic mediocrity of the fake pop stars that Italian radios serve up to us every single day. -Stefania D’Egidio

    Original Italian:
    Facciamo finta che Putin o il nordcoreano dal capello inguardabile abbiano schiacciato il fatidico bottone, la civiltà umana sarebbe spazzata via nel giro di pochi secondi e solo i più fortunati sopravviverebbero, certo ad un caro prezzo, ritrovandosi davanti a uno scenario di solitudine e desolazione: quale sarebbe la colonna sonora perfetta per questa nuova dimensione di vita? Ce la fornisce Delrei, al secolo Alessandro Mercanzin, classe 1984. Quando nasce siamo in piena guerra fredda, sul grande schermo passano film come The Day After o Wargames, Rocky IV si batte contro Ivan Drago e la minaccia nucleare pesa sulle nostre teste come un macigno. Si appassiona subito alla musica e, a 13 anni, inizia a suonare prima la chitarra acustica, poi quella elettrica. Entra nella band punk 77 Mudlarks con cui gira in Europa e negli States, una breve esperienza con i Mastica e poi entra nel gruppo Universal Sex Arena (La Tempesta Dischi) finché, durante la pandemia, non decide di intraprendere un progetto solista con il nome di Delrei. Il 7 luglio pubblica Desolation and Radiation per l’etichetta Projekt Records di Portland, specializzata in musica introspettiva, ambient e darkwave.

    Talentuoso e visionario, per il suo primo lavoro solista ci propone un progetto ambizioso e coraggioso, perché gli album esclusivamente strumentali difficilmente vengono passati sui canali ufficiali e raggiungono le grandi masse, tranne che per nomi illustri della discografia mondiale o per importanti colonne sonore, e non a caso cito il cinema: se avrete modo di ascoltare Delrei riaffioreranno in voi le emozioni suscitate dalle melodie di Ennio Morricone, nei classici di Sergio Leone, o dal connubio Badalamenti/Lynch in Twin Peaks. Nulla di nuovo, obietterete, certo, aggiungo io, gira e rigira le note sono sempre sette, ma questo ragazzo sa toccare i tasti giusti e metterci del suo: del resto è un selfmade, suona praticamente tutto, abilmente guidato dalle mani del produttore Maurizio Baggio (Soft Moon, Boy Harsher, Nuovo Testamento), ma soprattutto sperimenta, ripescando suoni e strumenti vintage, riverberi e persino un’arpa siciliana. L’album, composto da undici inediti, trasuda mistero, lo si capisce dalla traccia di apertura, Solitario, che, come da migliore tradizione Spaghetti Western, evoca la polvere del deserto, così come Into the Wasteland, e alzi la mano chi non pensa immediatamente a quel geniaccio di James Wilsey (sì, proprio quello di Wicked Game, famoso per le sue note sospese). Trombe epiche in Nowhere To Ride, la mia preferita, con i riffettini in stile Apache di The Shadows, così come in Far From Here, suoni cupi e angoscianti in Ensenada e Mysterious Traveler, un moderno blues in Get Lost Blues e melodie da saloon in Country.

    Insomma, per questo sorprendente album, Delrei mette sul piatto la sua visione senza parole di un mondo proveniente dal futuro, malinconico, pieno di sogni perduti, intriso di riff oscuri e intriganti, che dipingono scene drammatiche, un suono a tratti spettrale in grado di evocare molte cose con poche note sussurrate. Un lavoro che ci lascia in sospeso, in attesa di toccare con mano la prossima puntata, tanto per restare in ambito cinematografico, e che ci fa ben sperare per il futuro della sua carriera perché, pur ripescando suoni appartenenti al passato della musica, spicca per originalità e fantasia, il che non guasta affatto, circondati, come siamo, dalla mediocrità di plastica dei finti divi pop che le radio italiane ci propinano tutti i santi giorni. -Stefania D’Egidio

  12. Reviews Editor

    From Il Manifesto

    Lying somewhere between western melodies, blues, Tex-Mex in its various forms and a series of decidedly apt psychedelic lashings, this record of eleven tracks by Alessandro Mercanzin, aka DELREI, is a great surprise. In some passages it’s like listening to the most inspired moments of the fascinating Spindrift release from a few years ago. The instrumental character of DELREI’s work lends charisma to the whole. (g.di.)

  13. Reviews Editor

    From Exposé
    The Wild West, clouds of dust kicked up by galloping horses, cowboys, smoke-filled saloons, harmonicas, banjos, and twangy guitars; these are all elements that come to mind with the spaghetti western soundtracks of Ennio Morricone and others, all of which come to mind with Delrei, a.k.a. Italy’s Alessandro Mercanzin, an imaginative composer who stands alone on a dusty prairie with a six-gun in hand and a ring of sweat around the rim of his cowboy hat, obviously influenced by the many western movies of yesteryear and with a willingness to give that concept another go. The eleven tracks of Desolation and Radiation offer a convincing instrumental rendition of Mercanzin’s vision, each of the pieces a standalone vignette of a larger overall concept that illustrates a Wild West fantasy, with no particular restrictions on how it’s to be interpreted, the intrepid listener can just allow their imagination to go wherever it may.

    Mercanzin is the quintessential multi-instrumentalist, handling guitars, bass, harmonica, synthesizers, and even drums; even at that, some guests have been brought in to help out on this track or that, offering trumpet and pedal steel. The music is a mix of bluesy rock, Americana, Western themes, and heavily effected solos that all point back to things a listener may have heard in soundtracks, but the work is nonetheless original and powerful, certainly capable of creating a moving image in the listener’s imagination. Every single cut speaks for itself, painting its own picture without any apologies, each an amazing collection of atmospheres and melodies that builds on all the others, taken as a whole Desolation and Radiation is a truly unique listening experience. -Peter Thelen

  14. Reviews Editor

    From Rumore

    The path is impassable, the horizon orange-red, and the wind beats relentlessly, relocating in the mind the solar mission, the spiritual vengeance of the hero that so characterized the poetics of the Leonian western and the postmodern portrayed by Lynch, Jodorowsky, Carpenter and Tarantino. This is with regard to the epic and visual imagery of the instrumental narrative that, in spite of formalities, grants Alessandro Mercanzin a credible definition. Apocalyptic code that lies in the cinematic and neoromantic acoustic, in a sort of hybrid between Isaak, Morricone, Badalamenti, the aforementioned Carpenter, Wall Of Voodoo and Fields Of The Nephilim (Ensenada and Get Lost Blues stand out). -Stefano Morelli

    Original Italian:
    Il sentiero è impervio, l’orizzonte rosso arancio e il vento batte senza tregua, ricollocando nella mente la missione solare, la vengeance spirituale dell’eroe, che tanto caratterizzò la poetica del western leoniane del postmoderno ritatto da Lynch Jodorowsky, Carpenter e Tarantino. Questo per ciò che concerne l’immaginario epico e visuale della narrazione strumentale che, a dispetto delle formalità, concede ad Alessandro Mercanzin una credibile definizione. Codice apocalittico che si situa nell’acustico cinematico e neoromantico, in una sorta di ibrido tra Isaak, Morricone, Badalamenti, il già citato Carpenter, Wall Of Voodoo e Fields Of The Nephilim (spiccano Ensenada e Get Lost Blues). -Stefano Morelli

  15. Reviews Editor

    From Ondarock

    Behind the name DELREI is guitarist Alessandro Mercanzin, already active for years in the Italian alternative rock scene. The first release from DELREI – Desolation And Radiation – is an ambitious instrumental album that soundtracks a hypothetical post-apocalyptic nuclear war scenario.

    Mercanzin recreates desert sounds that only the guitar can achieve, combining the desert-rock atmospheres of Calexico, the soundtracks of Ennio Morricone with a dystopian science fiction background. Listening to songs like “Into The Wasteland” or “Nowhere To Ride” one immediately feels catapulted into Sergio Leone western films (the trumpet clearly Morricone-like), while the decidedly stripped blues of “Get Lost Blues” has greater originality.

    Mercanzin handles the spaghetti western clichés with skill, giving a certain regularity to the whole, while in places country and more evocative moments (“Ensenada” or “Solitario”) are an enjoyable listen reminiscent of the nightclubs of Twin Peaks.

    In these eleven tracks it is precisely the one most linked to the blues (“Get Lost Blues”) – i.e. to tradition (but modified in a desert version, reduced to a minimum) – that seems like a good starting point for an upcoming new LP. -Valerio D’Onofrio

    Original Italian:
    Dietro al nome DELREI si cela il chitarrista Alessandro Mercanzin, già attivo da anni nella scena rock alternativa italiana. Il primo lavoro a nome DELREI – strong>Desolation And Radiation – è un ambizioso tentativo di album strumentale che fa da colonna sonora a un ipotetico scenario post-apocalittico da guerra nucleare.

    Mercanzin ricrea sonorità desertiche che solo la chitarra può ottenere, coniugando le atmosfere desert-rock dei Calexico, le colonne sonore di Ennio Morricone con uno sfondo da immaginario di fantascienza distopica. Ascoltando brani come “Into The Wasteland” o “Nowhere To Ride” ci si sente immediatamente catapultati nei film western di Sergio Leone (la tromba chiaramente morriconiana), mentre il blues decisamente scarnificato di “Get Lost Blues” ha una maggiore originalità.

    Certamente un disco pieno di cliché spaghetti western, che comunque Mercanzin maneggia con maestria e che danno una certa prevedibilità al tutto, nonostante i momenti country o quelli più evocativi (“Ensenada” o “Solitario”) consentono un ascolto piacevole che ricorda in vari tratti i locali notturni di “Twin Peaks”.

    In questi undici brani è proprio quello più legato al blues (“Get Lost Blues”) – cioè alla tradizione (ma modificata in una versione desertica, ridotta ai minimi termini) – a sembrare un buon punto di partenza per un prossimo nuovo LP. -Valerio D’Onofrio

  16. Reviews Editor

    From Luminous Dash
    The American Projekt Records label has been responsible for quality, dark music for several years now. The label was founded by Sam Rosenthal, who is also behind dark wave band Black Tape For A Blue Girl. In addition, the label has released a series of interesting artists, just think of Steve Roach, Arcana, Dark Sanctuary and our own ambient gurus Vidna Obmana (Dirk Serries) and Stratosphere (Ronald Mariën). Now it’s time for DELREI, an act that does with country and americana what Bohren Und Der Club Of Gore did with jazz. The result is a fascinating trip through a devastated western backdrop.

    On Desolation and Radiation we get eleven songs with more than strong nods to the music of Ennio Morricone, David Lynch and Angelo Badalamenti, but then given a dystopian jacket. Especially Nowhere To Hide hints at, no, is a free interpretation of For A Few Dollars More. It is clear that DELREI got the mustard there, but perhaps also with bands like Radare and Condor Gruppe. Of course that shouldn’t spoil the fun. There are some beautiful works on this record. Far From Here is even one for dark dance floors with great guitar work and a compelling atmosphere. It is followed by the very doomy Get Lost Blues, an almost industrial blues cracker that works on the neck muscles.

    The combination of synths, electronics, spaghetti western guitars and harmonica works really well. The listener immediately imagines himself in the arid deserts of Texas, sometimes chased by a herd of bison or by ferocious ‘Indians’, but above all all alone in a desolate area where no one should set foot. By the way, fans of Chris Isaak’s music can also enjoy this. The energetic Lonely Night could come right out of his guitar. There is also more than enough variation to be found so that this album never gets boring. We’re sure even post-rock fans can enjoy a tearjerker like Dusk.

    In short, Desolation and Radiation is an absolute winner and a must for anyone who likes it a bit darker. DELREI may have written and played the surprise of the year. -Serge Timmers

    Original dutch:
    Het Amerikaanse Projekt Records label staat al enige jaren gerant voor kwaliteitsvolle, donkere muziek. Het label werd opgericht door Sam Rosenthal, die ook achter darkwaveband Black Tape For A Blue Girl zit. Daarnaast heeft het label een rist aan interessante artiesten uitgebracht, denk maar aan Steve Roach, Arcana, Dark Sanctuary en onze eigen ambient goeroes Vidna Obmana (Dirk Serries) en Stratosphere (Ronald Mariën). Nu is het echter tijd voor DELREI, een act die met country en americana doet wat Bohren Und Der Club Of Gore met jazz gedaan hebben. Het resultaat is een fascinerende trip door een verwoest western-decor.

    Op Desolation and Radiation krijgen we elf nummers met meer dan stevige knipogen naar de muziek van Ennio Morricone, David Lynch en Angelo Badalamenti maar dan in een dystopisch jasje gestoken. Vooral Nowhere To Hide hint naar, neen, is een vrije interpretatie van For A Few Dollars More. Het is duidelijk dat DELREI daar de mosterd heeft gehaald, maar misschien ook bij bands als Radare en Condor Gruppe. Uiteraard mag dat de pret niet drukken. Op deze plaat staan enkele prachtige werkjes. Far From Here is er zelfs eentje voor donkere dansvloeren met heerlijk gitaarwerk en een meeslepende sfeer. Het wordt gevolgd door het zeer doomy Get Lost Blues, een bijna industrial-blues kraker die op de nekspieren werkt.

    De combinatie van synths, elektronica, spaghetti-western gitaren en harmonica werkt echt goed. De luisteraar waant zich onmiddellijk in de dorre woestijnen in Texas, soms achterna gezeten door een kudde bizons of door woeste ‘Indianen’ maar vooral helemaal alleen in een desolaat gebied waar geen mens een voet zou mogen zetten. Trouwens, fans van de muziek van Chris Isaak kunnen hier ook van genieten. Het energieke Lonely Night zou zo uit diens gitaar kunnen komen. Er is dus ook meer dan genoeg variatie te vinden waardoor dit album op geen enkel moment gaat vervelen. We zijn er zeker van dat zelfs postrockfans kunnen genieten van een tearjerker als Dusk.

    Kortom, Desolation and Radiation is een absolute topper en een aanrader voor iedereen die het al eens graag wat donkerder heeft. DELREI heeft misschien wel de verrassing van het jaar bij elkaar geschreven en gespeeld. -Serge Timmers

  17. Reviews Editor

    From Radio Coop

    Instrumental album with enveloping and evocative melodies that draw from the Italian Spaghetti Western cinematography of the Sixties, with Morricone in the lead as an inspiring beacon. Alongside, the languid tex-mex atmospheres of Chris Isaak but also Calexico or the “Paris, Texas” model Ry Cooder. The sounds are refined and researched and always strictly pertinent to the artistic world of reference. Optimal. -Antonio Bacciocchi

    Original italian:
    Album strumentale, dalle melodie avvolgenti ed evocative che pescano nella cinematografia Spaghetti Western italiana degli anni Sessanta, con Morricone in testa come faro ispiratore. A fianco, le languide atmosfere tex mex di Chris Isaak ma anche Calexico o il Ry Cooder modello “Paris, Texas”. I suoni sono curati e ricercati e sempre strettamente pertinenti al mondo artistico di riferimento. Ottimo. -Antonio Bacciocchi

  18. Reviews Editor

    From Decimononic

    Desolation and Radiation: A Haunting Musical Journey

    Albums have the power to transport us to different worlds, evoking emotions and imagery through the magic of music. One such album that captivates listeners with its ethereal soundscape is Desolation and Radiation by DELREI. Drawing inspiration from iconic composers like Ennio Morricone and Angelo Badalamenti, as well as artists like Chris Isaak and David Lynch, DELREI creates a post-apocalyptic Western symphony that takes us on a mesmerizing journey through desolation and solitude.

    It seamlessly weaves elements of rock, Americana, soundtrack, and blues to paint a mythic western of the future. Each haunting note summons forth an ethereal spectre that draws listeners into a hypnotic trance, unveiling an arid yet mesmerizing world of forlorn solitude.

    Produced by Maurizio Baggio and with Alessandro Mercanzin, the mastermind behind DELREI, taking the lead on most instruments, Desolation and Radiation is a showcase of exceptional musical craftsmanship. Vintage synths, old 60s organs, and traditional Sicilian harp, known as the marranzanu, bring a unique and captivating texture to the sound. The album is also graced by the trumpet skills of Michele Tedesco on “Nowhere to Ride” and the pedal steel guitar of Stefano Miozzo on “Far from Here.”

    The album’s wordless vision of a lost world from the future is filled with melancholy and lost dreams. With a ghostly sound in Mercanzin’s mind, he conjures dark and intriguing riffs that say a lot with whispered notes from his guitars. Each track paints dramatic scenes, transporting the listener to a reverb-drenched wasteland in a parallel world. It is a testament to the power of instrumental music to convey emotions and narrative without the need for lyrics.

    Desolation and Radiation carries a veiled message within its atmospheric melodies – a warning to prevent the mistakes of the past from transforming our present into a terrifying future. It serves as a stark reminder of the fragility of our world and the importance of taking steps to preserve it. Through the evocative music, listeners are invited to reflect on their own experiences, making it as personal as it is cinematic.

    In a world where lyrics often take center stage, Desolation and Radiation reminds us of the instrumental power of music. It speaks to our emotions, conjuring vivid images and narratives without the need for words. It invites listeners on a journey of introspection and reflection, allowing them to create their own narratives within the ethereal soundscape.

    For fans of Ennio Morricone, Chris Isaak, Angelo Badalamenti, and David Lynch, DELREI’s Desolation and Radiation is a sublime addition to any music collection. Its blend of genres, evocative melodies, and haunting atmospheres make it a mesmerizing experience from start to finish. Whether listened to as a standalone piece or as a soundtrack to a personal journey, this album offers a sonic escape into a captivating and melancholic world of desolation and radiation.

    To experience the hauntingly beautiful sounds of Desolation and Radiation and support DELREI’s artistic endeavors, visit their Bandcamp page: -JF Alfaya

  19. Reviews Editor

    DELREI Drives Down a Lost Highway in the Video for the Gothic Cowboy Tune “Get Lost Blues”

    Bathed in mysterious, electric guitar twangs and spectral tunes dusted with age, the sultry “Get Lost Blues” from DELREI’s Desolation and Radiation conducts a spaghetti Western symphony of the post-apocalyptic West.

    With this song, Italian tunesmith Alessandro Mercanzin envisions a dystopian future where a lone wanderer braves a merciless, nuclear-blasted wasteland. With rural echoes of banjo, harmonica, and mouth harp, punctuated by the thunderous beat of orchestral timpani, Mercanzin crafts a foreboding score for this imagined landscape.

    It’s a territory where the nights are awash with an eerie chill, a land of crimson horizons drenched in melancholy solitude. Each note summons forth an ethereal spectre that draws you into a hypnotic trance, unveiling an arid yet mesmerizing world of forlorn solitude. This is the new West — a vast expanse shaped by desolation and radiation, a mythic frontier that Mercanzin eloquently brings to life through the universal language of music. We hear echoes of the iconic compositions of Ennio Morricone, the brooding rock ‘n’ roll vibe of Chris Isaak, the atmospheric melodies of Angelo Badalamenti, the eerie dreamworld of David Lynch (particularly Wild At Heart and Lost Highway), and the expressive guitar strings of James Wilsey.

    Under the skillful directorial gaze of Michele Piazza, the music video is a visual tribute to Spaghetti Western aesthetics, juxtaposed with a hint of David Lynch’s signature surrealism. The star of this moving canvas? A classic 1972 Ford Taunus, its metallic body reflecting the moonlight as it cruises through a nocturnal desert landscape, manned by a cryptic figure.

    Accompanying this tableau is a harmonica-wielding troubadour, his music the soundtrack to this midnight meandering. His eyes follow the car’s journey, observing each twist and turn with an enigmatic gaze. This leaves us wondering – is he embarking on a carefree, aimless wander through the barren desert or is he, in fact, on a purposeful odyssey? The question hangs in the dry desert air, as elusive as the mysterious driver and his vintage companion.

    “’Desolation and Radiation’ is a wordless vision of a lost world from the future,” Mercanzin reflects upon the album’s concept. “To me it’s melancholy, filled with lost dreams. With a ghostly sound in my mind, I wanted to pull off dark intriguing riffs, and I found I could say a lot of things with a few whispered notes from my guitars. These songs paint dramatic scenes that take me to a reverb-drenched wasteland in a parallel world.”

    Under the deft touch of producer Maurizio Baggio—known for his work with Soft Moon, Boy Harsher, and Nuovo Testamento— Mercanzin weaves a sonic narrative, drawing from the Giallo-pulp that punctuated his musical awakening, while simultaneously playing around the tropes, both avoiding and embracing, of traditional Italian Spaghetti Westerns. This bold expedition in sound harnesses the soul of various guitars and vintage instruments, resonating with echoic reverbs and the strum of the marranzanu, a classic Sicilian harp. The instrumental ensemble is largely played by Mercanzin himself, further textured by the warm hum of Baggio’s retro synthesizers and 60s era organs.

    When the last note of Desolation and Radiation fades into the distance, it leaves behind more than a symphony of sounds. It leaves an echo of a prophetic caution – a covert plea urging us not to let the ghosts of our past transmute our now into a fearsome tomorrow. At its core, the album is a poignant reminder, a beacon warning us against venturing down a path that leads to a desolate, irradiated future. -Alice Teeple

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