Delrei: Desolation and Radiation (Digital)

Reviews

1. 

   Reviews Editor – September 19, 2023

   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.)

2. 

   Reviews Editor – August 21, 2023

   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

3. 

   Reviews Editor – August 8, 2023

   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

4. 

   Reviews Editor – August 8, 2023

   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

5. 

   Reviews Editor – July 12, 2023

   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

6. 

   Reviews Editor – July 7, 2023

   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

7. 

   Reviews Editor – June 28, 2023

   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: https://projektrecords.bandcamp.com/album/desolation-and-radiation -JF Alfaya

8. 

   Reviews Editor – June 27, 2023

   From Post-Punk.com
   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