[Google translated from the original. Read the original Italian version here.]
“It’s easy to label with the all-encompassing definition of chamber-folk records in which the composition flair of an author expands to create multi-faceted musical contexts for his songs; equally superficial and misleading would establish similarities or – worse – to a ancestries musical formula rich and refined as that of Liam Singer, now with “Arc Iris” to the fourth episode in the long run of a career that has perhaps not yet bestowed all the arrangements it deserves.
In the new album, Singer plays your tunes with a patina slightly theatrical, conveyed by the dozen musicians who have participated, bringing a kaleidoscope of solutions whose latent baroque is instead contained within expressive canons mainly simple and direct.
then, keeping a spirit mild and dreamy psychedelic light years away from the escape (!) and allowing himself just a few more pompous digression in a transfigured by musical key, multi-instrumentalist originally from Portland at the core of “Arc Iris” compositions on the piano, from time to time left unadorned and lonely, as in the brief prelude usual, form the basis of ballads in dim light (“Nine Ten”, “Forever Blossoming”) or – more often – placed at the head of vibrant polyphony for chorus and orchestra, made by rhythmic thumping oblique (“O Endless Storm”) and vibrant progressions (“Appear And Disappear”).
The centerpiece of “Arc Iris” beyond the measured complexity of his orchestrations, however, remains the melodic sensibility of Singer, the author of the brilliant arranger capable of forming fine piano scores, which would be a shame to confine, in the perception of the disc, to simple instrumental interludes or pauses for breath between its steepest orchestral constructions.
Although the latter inevitably more easily capture the attention, expertise instrumental and expressive spontaneity of falsetto Singer leads us to favor, in its artistic arrangement, the components of songwriting conformity with those of more or less baroque chamber music, which still contribute to trace the outline of a refined, modern artist, perhaps, this should be considered not so far from those enjoyed by, for example, Sufjan Stevens and Patrick Watson .”