Francesco Baiguera: electric guitar
Giacomo Papetti: double bass
Emanuele Maniscalco: drums

CD – 8 tracks – 42:25

Edition of 200 copies
Released in July 2020

In stock



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01- Witty – 04:31
02- Fragments – 03:57
03- Empty Water – 05:44
04- Drops – 06:18
05- He Seems So Quiet – 06:33
06- Stoned – 02:47
07- Vacuo – 06:57
08- Moods – 05:34

Total Time: 42:25


Tracks composed by Francesco Baiguera

Recorded by Carlo Poddighe at Poddighe Studio, Brescia, on 20th May 2019

Mixed by Carlo Poddighe, Francesco Baiguera and Emanuele Maniscalco at Poddighe Studio, Brescia, in July 2019

Mastered by Daniele Salodini at Woodpecker Mastering, Brescia, in October 2019

Graphics and Layout by Sandro crisafi

Produced by Francesco Baiguera and Aut Records


Post-rock echoes and impressionist digressions trace a very intimate sound and a subtle abstract atmosphere. “prèludes” is a project that collects original compositions by guitarist Francesco Baiguera. Usually short, often made up of arpeggios or vaguely bare themes, the preludes of the title become sound boxes on which the trio’s dialogue moves, in an open and dynamic way.

The predominant introspective character of the compositions does not skimp on moments of rhythmic intensity. Here the formal asymmetry keeps the listener poised between a careful lucidity and the shipwreck into the delicate sound environment created by drummer Emanuele Maniscalco thanks to his solid musical conception and the gentle and concise use he makes of his instrument.

Songs such as “Drops” and “Stoned” develop on complex harmonies that recall an impressionist atmosphere and a compositional style that goes far beyond tonality, with a preference for interval sequences and colours dictated by the succession of chords. The double bass player Giacomo Papetti seems to be completely at ease in this musical environment, creating with extreme freedom persuasive and, at the same time, angular lines that enrich with vital energy the musical content.

Dissonance is treated without fear by the three musicians, both when it surprises us inside pieces with a clear post-rock matrix and when it is a constitutive element of the piece itself.
The creation of arpeggios that skillfully exploit the resonance of the electric guitar clearly denotes the research carried out in order to enhance the expressive potential of the instrument. The use of empty strings manages to create unusual colours and clusters of notes that form the core of different compositions.

The expressive freedom of the prèludes, moving across the subtle boundary where jazz is in dialogue with other contemporary genres, arouses curiosity about how the trio’s effective collaboration could evolve in the future.

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