OTHER Music

Medioevo Futuro

Advena Avis

ADVENA AVIS — Medioevo Futuro (1997)

Medioevo Futuro is the first album by Advena Avis, a project founded by Fabio Armani and Marco Carpiceci in the late 1990s. The album explores a radical idea: treating medieval music Read more

ADVENA AVIS — Medioevo Futuro (1997)

Medioevo Futuro is the first album by Advena Avis, a project founded by Fabio Armani and Marco Carpiceci in the late 1990s. The album explores a radical idea: treating medieval music not as a historical object, but as living material, open to transformation, hybridization and re-composition.

Starting from original medieval sources — melodies, texts and modal structures — Medioevo Futuro reworks this heritage through contemporary sensibilities, combining saxophone, breath, keyboards and electronic elements with a deep respect for the original musical language. The result is neither reconstruction nor pastiche, but a temporal dilation, where ancient forms resonate within modern soundscapes.

The project moves between written tradition and improvisation, between philological attention and creative freedom. Medieval melodies are not “arranged” in a conventional sense; they are re-imagined, allowing rhythm, timbre and texture to evolve according to present-day musical logic.

Medioevo Futuro stands as an early example of cross-temporal music: a dialogue between centuries, where the past is not revived, but made active again. It marks the beginning of a trajectory that would later inform several projects within the Different Lands ecosystem.

Da terre lontane

Advena Avis

ADVENA AVIS — Second Album (2000)

With its second album, Advena Avis reaches a markedly more mature and expansive phase. The project evolves from a focused ensemble into a broader musical constellation, welcoming a larger Read more

ADVENA AVIS — Second Album (2000)

With its second album, Advena Avis reaches a markedly more mature and expansive phase. The project evolves from a focused ensemble into a broader musical constellation, welcoming a larger number of musicians and significantly widening its expressive range.

The ensemble expands to include Anna De Martini as the album’s principal vocalist, alongside Walter Brunetto (guitars), Marco Tocilj (saxophones), and Alessandro D’Aloia (drums and percussion). This enlarged formation allows the music to move with greater freedom between structure and improvisation, voice and instrumental texture.

While medieval sources remain a foundational reference, this album introduces a decisive shift. Fabio Armani contributes several original compositions that do not originate from medieval repertoire — pieces such as In Volo and Da Terre Lontane I & II. These works anticipate the aesthetic direction of Terre Differenti, a project that was taking shape precisely during those years.

The musical language becomes more layered and ambitious: electronic instruments are used more extensively and are placed side by side with ancient instruments (recorders, lutes, hurdy-gurdies), as well as ethnic and jazz elements. Rather than juxtaposition, the album seeks integration — a continuous dialogue between eras, traditions and sound worlds.

This second release represents a threshold moment for Advena Avis: the point at which the ensemble’s medieval-inspired origins open toward a wider, more contemporary and exploratory musical horizon.