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LEGGI I TESTI IN ITALIANO DELLE CANZONI DEI LOWLANDS
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leggi l'intervista
Americana Uk
"One of the best Roots Albums of 2008” Fabio Cerbone – Rootshighway.it
"Drawing on the sublime aspects of Nebraska-era Springsteen,
and the country-dabblings of Green On Red…It’s a Cracker!”
Jeff Weiss – Miles of Music (USA)
“Music with a lot of soul […] avoid listening to it if you are depressed
"****" - Maverick Magazine (UK)
“Driving, guitar-led alt-country, albeit with a harder edge than straight Americana (…)
sparsely desolate (...) minor masterpieces in small-town atmospherics (...) emotionally-
convincing (…) As a debut offering, ‘The Last Call’ has a lot to commend it”
David Kidman - NetRhythms (UK)
throughout. Despite running over 50 minutes, there is never a
dull moment -
*** ” Paolo Carù – Buscadero Magazine (
“An album of unusual bravery" Ben Lazar – 10th Avenue Music
“Recorded with real passion and commitment”
Tom Fahey AmericanaOK
"Crazy beautiful record!" Chris Cacavas (Green On Red)
"It's some of my best stuff on record" Richard Hunter -
Harmonica Virtuoso
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NEW REVIEWS
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NetRhythms (UK)
David Kidman
Here's some driving guitar-led alt-country, albeit with a harder edge than straight Americana usually has, from singer-songwriter Edward Abbiati and his seven-piece band. You'd be hard put to place this music in its native northern Italy, such is the authentic flatland-bar-band feel they conjure. Think a little Butch Hancock, Jimmie Dale Gilmore, Chuck Prophet, possibly Dave Alvin… Admittedly, there are also moments which more resemble the Pogues transplanted Stateside (the opener Ghosts In This Town for instance), and What Can I Do has some of the detachment of Buzzcocks, but elsewhere Edward and his troupe don't need to prove their loyalty to the alt-country cause. I tended to come back more often to the altogether more sparsely scored cuts like In Between, the desolate You Can Never Go Back and the tenderly rippling Like A Rose, while 38th & Lawton and Lately could be considered minor masterpieces in small-town atmospherics, but some of the rockier moments can be almost as satisfying too. Edward's emotionally-convincing vocal work counts for much in the Americana stakes, ably conveying the haunting nature of his visions and stories, while his musicians are fully in tune with the idiom. I mentioned The Boss earlier, and you'll find from one ramble through Leaving NYC that the man is very probably another of Edward's heroes, for this song goes as far as to quote a handful of Springsteen titles in its lyric. If it seems as though I've pointed up Lowlands' inspirations as soundalikes, then that shouldn't be taken as a negative comment, for Edward has clearly learnt from, rather than merely slavishly drawn from, his influences. As a debut offering, The Last Call has a lot to commend it, even if it hasn't always quite got the individuality of artistic statement you might expect from a singer-songwriter -
but given time...
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