In late 2022, I reviewed the Special Edition of “The Rise of Medici” by Imaginaerium, a project by Clive Nolan, Laura Piazzai, and the late Eric Bouillette. You can read my review by clicking on the button below. Now, we have the official album release! Clive, Laura, and Anne-Claire Rallo of Bad Dog Promotions (and Eric’s partner) very kindly agreed to undertake an interview with this website, and the detail they have entered into is joyful. So, sit back; Pour yourself a cool, long, drink; If you smoke, make it a classic cigar; Relax, and enjoy the words and exceptional insight into this project.
THE ALBUM IS OUT on MARCH 20TH VIA CRIME RECORDS/WE LÅVE ROCK
SPECIAL EDITION EARBOOK 2CDs & STANDARD EDITION DIGIPACK 1CD
Thank you so much for agreeing to this interview.
I think the obvious opening question is why an album based upon the Medici family?
Laura:
First of all, we are all three history lovers and we thought that a story taken from this incredible Italian family would have given a brilliant mix of drama, treacheries and epic value to inspire the lyrics, music and singing. It went exactly in the direction that we wanted it to go.
The family are fascinating. Their influence upon European history is huge. From their rise in the 15th Century to the dynasty’s fall from power in the 18th Century, via four Popes and numerous Dukes, their legacy is, I feel, a little misunderstood. They were great patrons of art and architecture during the Renaissance, and many people reading this interview who have visited Italy and France would not have enjoyed so much stunning culture without this. Further, the family provided a haven for Galileo following his trials for heresy. So, let’s have your take on one of Europe’s most influential clans, please.
Laura:
Well especially for me the De’ Medici family represents a solid name in the history of my country. We are a land of beautiful art, of inventors, of culture, and of elegance and this family has been like the pulsing heart of Italy. What they built and their love for architecture and art is a huge pride for this wonderful country.
In my review of the album, I referred to modern day leaders such as Boris, Truss, Rishi, Hancock et al, and the fact that this bunch of clowns are amateurs compared to the powerplays of the period the album depicts. I would be interested in hearing your thoughts on the differences between modern day politics and those of that period and any lessons we could possibly learn from this family.
Laura:
A bit going back to what I just said; At that time the love of the politicians for their country was just in the interest of Italy and to maintain its prestige and glory but all that has gone now and the only thing that matters is the benefit of the single persons who work in the government and their families.
Nowadays politicians are not constructive. They are destructive in the name of their own wallet.
Further to this, Will I Never Return is a brilliant depiction of the thoughts and doubts of a powerful man, Cosimo, in exile. I think this is a man who misses being at the heart of power, as opposed to regretting not being able to assist his fellow man – power for power’s sake, as I put it. An accurate depiction?
Laura:
Cosimo preferred to die rather than being far from his lands. We are not really talking about keeping the power but the heart belonged to Florence.
He felt like a total stranger in Venice. This is the reason why he never pardoned Contessina for saving his life by sending him into exile. This was worse than death. No-one would have this thought today, no-one would have this love for his land or country nowadays.
By the way, the track itself absolutely races and rocks along, and Andy Sears is majestic in his vocal translation of the main man.
Please provide my readers with a history of the project, from the gestation, to planning, and recording of the work. As much detail as you can provide would be fascinating, please.
Laura:
It all started when I was talking to Eric about my desire to sing in an epic music project as I feel like I belonged there. So we were just actually talking and it was a normal daily call we had since we met in 2018. All of a sudden, he said that HE would write this project.
And he did…two days after, I had the first demo…”Duty of Love” was a reality.
I loved it and he wrote like four more in a bunch of days. His desire was to make a rock opera with my voice, that he said he loved so much and was an inspiration for him. So …well…I let him work, of course! I was so honoured about this, a great musician inspired by my voice… and so this was the dream come true.
We obviously wanted great lyrics and I said we need the best here too and I named Clive Nolan as I know him so well and he is the only one I could imagine for this.
He said yes and the base team of the band was built.
Clive immediately wrote the most incredible lyrics and restructured the demos to make them perfectly marry his lyrics and vocal lines.
After that Clive wrote other tracks and completed the album that now sounds so brilliant.
Clive told us that the opera could have been even bigger if we built up the story with more characters, and so we included Andy Sears (ex-Twelfth Night) as Cosimo, Elena Vladyuk as Lucrezia, and Clive taking the voice of Rinaldo that for the first time sang with his incredible “baddie” voice.
Then we thought about all the musicians and the mixing part done by Alexandre Lamia.
We also thought about a bonus album for the magnificent special edition ear book to be released with the incredibly stunning artwork made by Steve Anderson and the intriguing cover designed by Kim Ouzo.
The bonus album came to life when Clive and I were recording my vocal sessions and we built it together in two days!
That was one of the most incredible moments of the whole creation and singing path.
It was impossible to stop working because the ideas just came flooding out and we were more and more satisfied about not giving the usual boring bonus that everyone expects to get.
We based it very much on me as lead vocalist and created duets and in some cases I sang Elena’s songs in my style.
It is really like a second album to enjoy.
The song I love is “Fortunes Reverse” that you can listen to in three majestic different versions:
The main album version obviously has to be sung in that way because we are both angry and disappointed by our mutual behaviours, so the singing is hectic and powerful.
The bonus album offers two wonderful versions, one is Eric taking the lead instead of the voices and making a power guitar version.
The opening track is the one where Rinaldo and Contessina are trying to explain their reasons and therefore we had to re-sing the parts and make it sound nearly sorry and friendly and after this the music stops and Contessina says a sentence in Latin meaning: “Nothing is impossible for men in the grace of God” and from this moment on we added the extra guitar and the two singers vocally fight again until the end.
Fortunes Reverse has also one of the most beautiful guitar solos.
We all three went into this with an enormous enthusiasm and passion that is felt along the whole album. Fortunately, every person in the band put the passion in his opera and the result is there to be heard.
I want to discuss the individual contributors to the album, please. Firstly, Andy Sears, a vocalist who is amongst my favourites from the UK second wave of progressive rock.
I recall Andy supporting Pendragon back in 2011, and I assume that this was what led to his role in Alchemy, and remembering that to Rise of the Medici?
Laura:
Well to be honest, what led Andy Sear into the project was the fact that he is incredibly talented, and the role of Cosimo had to be sustained by a great rock voice like his.
He is simply perfect to stand in Cosimo’s shoes plus he was guest on “From the Outside In” with a “sensing a presence” duet and it was a smash one, so we saw how good our voices work and sound together, so it was an obvious choice.
The role of Lucrezia is taken by Elena Vladyuk. That vocal performance on Never Close Your Eyes is stunning. Tell us more about her and how she came to be involved in the project, please.
Laura:
Imaginaerium is based on rock voices but needed also a storyteller.
Elena’s role is to give a voice to Lucrezia, the great granddaughter of Cosimo and Contessina (she was Lorenzo the Magnificent daughter that was the son of Piero De Medici, son of Cosimo and Contessina… a little jump back into the history).
So, you can imagine her as a voice singing about the past of her family and acting like an observer from up above down to the arena where the ancestors played their important roles.
Bernard Hery, who Eric played with in Nine Skies, plays bass guitar. I assume that it was the connection with Eric which got him the album?
Laura:
Yes exactly. Bernard and Eric were friends and he immediately thought about him as part of this recording and the choice was great.
Finally, Scott Higham. I was very sad when he left Pendragon because I think he is a thumping drummer. He strikes me as being more than a bit of a “character”, so please tell us about him, his contribution, and how he came to be involved.
Laura:
To play the drums in this kind of music you must be very very capable and “know what you are doing”. If the drums aren’t in the hands of an “actor” you would not obtain great results. Scott is not only one of the best drummers I’ve ever heard, he has drama, inventive skills, and he is a real wizard of drums. He is essential to the power of the album. It was like a sort of duet between the voices and the drums, and this made a difference if you compare it to other rock operas. Classy and powerful drumming makes it all.
In my review, I referred to the long tradition of rock as a medium being fused with the operatic tradition, in my opinion the finest examples being Tommy & Quadrophenia.
The albums I mention above were translated into film, as was The Wall (less successfully in my opinion).
Alchemy is up next! I have looked at Ross Andrews describing building the world of Alchemy, and I believe that shooting has now started. An exclusive set report would be fantastic, please!
Clive:
Alchemy the Movie is indeed on the horizon. I can also say that it will take quite a while! Having seen the world of film making at close quarters now, I can see what an enormous mountain that must be climbed to achieve a result.
Alchemy will be filmed scene by scene as the budget slowly rises.
This can be frustrating at times, but this isn’t Hollywood, and things just take longer! I have seen the initial edit of the first scene filmed and it looks great. We have come up against a casting problem that needs to be resolved, and then filming will resume.
I have in addition to Rise of the Medici just reviewed Magenta’s new album, which is an orchestral piece based upon The White Witch track from their debut album, Revolutions. Back in the day when the pioneers of progressive rock started experimenting with different sounds and traditions, there was a strong classical crossover, especially with the likes of The Moody’s, Crimson, & etc. The list is a long one.
I believe that in the 2000’s, we are seeing a resurgence of that tradition, and Rise of the Medici is a fine example of that. I am curious. Looking at modern intelligent rock music, there is no doubt whatsoever that whilst artistically we are in a golden age, commercially the environment is a very challenging one for the artists. So, do you all see an ongoing fusion of the traditions as being important to widening the fanbase for rock and opera music moving forward, or can each continue to be viable in their own right?
Laura:
In my opinion, and the facts are actually saying it, Imaginaerium has already stepped out of the traditional rock opera fanbase zone.
It is now widely described as “fresh”, “modern”, “ear catchy “, not for sure “cheesy”, for sure “bombastic” but not in a cheap way.
This opera is an elegant tangle of orchestrations and voices and different lyrics sang in the same time by the performers but all so well distinguishable and flowing one into another.
It has been pre-released in 300 special edition copies, immediately sold out and with only fantastic reviews.
The requests to buy this opera come from people that usually are not into prog music. This is wonderful.
Of course, all the finest operas must have their heroes/heroines, here Cosimo & Contessina, and the battles with the villains of the piece, in this instance Rinaldo. The story wonderfully brings to life the stages of the battles, how in one year Cosimo is paramount, then how Rinaldo appears to have vanquished him, but then how he loses it all and Cosimo banishes him from home for ever. It is emotional, it is charged, and it is the eternal story of power play in human history. You must have had a huge amount of fun bringing it to life.
Clive:
A great album needs a great story!
As I said in my review, I love the phrase Festina Lente, “Make Haste. Slowly”. I believe we could do with a little bit more of this sentiment in 2022, as opposed to living life at 200 km/h in the modern era of social media, yes?
Laura:
I couldn’t agree more. I think that we lose loads of important “small” things along the way by running too fast and there are a lot of damaging consequences to always run. It harms the economy, the important role of the creation and when I say creation I mean artistry and this is why I love to be in this music genre: it has no time, no one runs to make the song ready before it becomes out of the schemes set by some absurd producer or to be declared out of date by the trends set by another “artist” out there.
Details and finishes are important and matter.
Clive, you play Rinaldo, and bring a wonderful operatic sense to the villain of the piece. You bring to life the hatred he has for our heroes, wanting them tortured, murdered, basically never seen again. The orchestration is suitably grandiose, but there is, though, a contrast in the Introspection verses, with touching strings, your gorgeous piano segment, and a vocal which is thoughtful in its plotting before the main “rant” reasserts itself with venom. You sound as if you had an absolute ball with this one.
Clive:
I did have a lot of fun with this. I have never played a ‘bad guy’ before so that was an exciting challenge, which allowed me to explore different vocal elements than I had before. I think my favourite bit is indeed that more introspective moment with the voice and piano… delicious to sing!
I always love feedback from my readers, and I had messages from more than a few telling me how much they enjoyed the vocal performances on Never Close Your Eyes and Glass Throne.
Both Elena & Laura produce those rare moments when the listener’s hair stands up on the back of the neck. I think both as an amalgamated piece of music deserve to get some serious radio airplay. How do you go about trying to bring such beautiful music to that wider audience?
Anne-Claire:
The audience is really receptive and enthusiastic about this album. What I especially love is to be able to reach people into the prog ''zone'', but also rock, metal, and even people that are used to listening to various genres of music. This is a complex work of music and a lot of melodic catchy pieces at the same time, therefore a lot of people can easily get into it.
Further to this, in the fusion of rock and dramatic opera, there is that gorgeous vocal by Elena on Fall From Grace alongside some rich keyboards and a thoughtful mandolin by Eric. It would be unfair for me to ask you as composers and performers to dissect every bar of music on the album, so I will confine myself to asking about this specific track. Please describe the conception, how it developed, how the sumptuous sound was produced. In short, a dissertation on a piece of music as beautiful as I have heard all year, please.
Clive:
I wanted this song to have a purity about it… a simplicity. I needed to glow as it progressed, so I gradually added some orchestral elements, but overall, it was about Elena’s voice, delivering this strong melody and storing message. I knew from the lyrics I had already written where this melody needed to go, so this was just a case of ‘word painting’. Then I just needed to wrap it all up into warm and sympathetic harmonies.
The artwork is great. Kim Ouzo is responsible for the front cover painting. Please discuss with my readers how Kim became involved and the importance of the visual aspects of a musical adventure such as this.
Anne-Claire
I was working on the visual and needed some powerful ideas to suggest to Steve (Steve Anderson, who made the artwork) for the front cover when I came across Kim's work. All the work is stunning and as soon as I saw this painting I knew it was the one I wanted for us. Kim agreed for us to use it for the album, and we are really happy about it : https://www.behance.net/ouzo For the booklet, the other images etc, I worked with Steve since we are used to work together on my personal projects as Nine Skies, for instance, and I think we work really well together. He really is a talented and nice gentleman.
When will the album be available on general release, please, and what formats will be available to my readers to purchase?
Anne-Claire:
The album will be out on March 20th, via Crime Records/We Lave Rock, as a special edition (earbook 2 Cds) and standard edition digipack 1CD. Orders are available here: https://shop.crimerecords.no/
I would wish to discuss now, please, some brief aspects of the careers of the major players and composers.
Firstly, Eric’s contributions to this album, from the compositional, arranging, and performance aspects. The guitar solo on Glass Throne, that incredible riff on Treachery, and that achingly beautiful solo he pulled off on Legacy are highlights of a performance which is seriously impressive. I think legacy is the right word because he has left us on this world with a deeply satisfying body of music. Anne-Claire, you must be so very proud, and Clive & Laura, I really would love to read your thoughts on this collaboration and an incredibly talented musician.
Laura:
Eric was a very important person in my life and the friend I talk to everyday. He had my same enthusiasm and passion and he could understand my thrills and my crazy happiness and, yes, we had a lot of fun while he was here and we shared so many emotions and ideas and he promised me that this would have been our big entrance in this mad world of music and well, so far I think he nailed it with his impressions and he put his mark on every song with his typical sound and he will always be remembered for this beautiful collaboration.
Clive:
I didn’t know Eric at all until he contacted me regarding this project, but I liked his enthusiasm, and he gave me all the space I need to get involved with the writing arrangements and orchestrations, which was a very generous thing to do.
He made it easy for me to work with him. The initial ideas he gave me were an excellent springboard from which to leap. I did get to meet up with Eric in person a few times during the making of this album, and he was a lovely guy with loads of passion for the project we were working on. It frustrates me that he cannot be here to experience the positive reaction this album is getting!
Anne-Claire:
Of course, I am. Eric was such a talented musician, gifted with an extraordinary sensibility. But I am also sincerely happy to make this release happening, because it was one of his projects, he was the most proud of and enthusiastic about.
Clive, this year we have had the release of a new Arena album, The Theory of Molecular Inheritance, and damned fine it is, too. I reviewed the album recently at https://lazland.org/further-2022-reviews/arena-the-theory-of-molecular-inheritance
The reviews I have seen elsewhere have been overwhelmingly positive. You must be very proud, especially as the subsequent tour appeared to sell out in most venues.
Clive:
The reaction to the album was amazing… we even charted in a couple of countries. We had a feeling something felt right while we were recording the songs, so it was satisfying to see that our belief was right! Just when we start to think it may be time to stop, something like this happens, and our journey continues!
As much as I have enjoyed every single Arena release, and the contributions of all the vocalists, I do think that in Damian Wilson, you have arrived at the archetypal Arena vocalist and is just about perfect for your musical vision. Fair?
Clive:
Yes, fair… I have already said in various interviews that Damian has the voice we needed from the very start. He nearly joined at other points in our history, but this must have been the right one.
Rock Opera, music for films such as Music Night, Arena, Pendragon. You are a busy chap! Please inform my readers of the forthcoming events in the professional career of Clive Nolan. We are all hoping for many years of output to come.
Clive:
I like to be busy; Obviously we are here promoting the Medici album, and there is a great hope that along the way we will get to perform this material live.
In the meantime, I am rehearsing with many performers over in Norway for live performances of ‘Song of the Wildlands’ (MY ‘Viking’ album). This will be performed in Norway in September, with hopefully, more shows to follow.
I am also rehearsing with Pendragon ready for gigs in May, and then later in the year.
Arena might be doing a few more gigs this year as well.
Meanwhile I am busy recording and editing my third Alchemy musical (‘The Mortal Light’), which I hope will be out on CD early next year and will eventually be performed on stage next year too.
I also intend to start writing a follow up to ‘Wildlands’ during this year, as well as preparing a new album with Laura to follow out ‘Outside In’ album… and beginning some new ideas for the next Arena album.
Along with this I am gradually putting together the revised and updated scoring for ‘Alchemy the Movie’.
Laura, I believe that you were Italian born, but raised in Sweden. Where are you based now, please?
Laura:
Exactly. I now live in Italy with Sweden in my heart.
Please provide my readers with a history of Laura Piazzai’s musical journey, including how you came to be involved with Clive and Eric.
Laura:
I mentioned the album “From the outside In “and that was the beginning of my journey in Clive’s music as we recorded this album together as a debut for me and now I am involved in his musical “The Mortal Light” and this incredible “The Rise of Medici” as Eric was inspired by my voice and we also recorded some rock covers together during the pandemic period.
Before prog rock I was singing in different styles like soul, for example, that made also this particular way of performing that makes the difference in rock.
I’ve always been searching for my uniqueness and this is the point where I always start from and I also always pretend more and more from myself and from my voice and I love to experiment to always put differences in different projects.
I love to explore my capacities and give 100% of what I can be in my singing.
The wide range gives me and gave me in the past the way to record in several other genres like also power house music and dance and that was loads of fun.
I completely feel that I belong to where I am now and that I’ve found my way and the luck to work with Clive and before also with Eric.
With Clive I have grown into something that was naturally set in me.
What does the future hold, please? Are you interested in more rock opera, or in a more classical focused future?
Laura:
Imaginaerium is a band based on rock voices. Eric was a great rock lover and he wanted this based on my voice and then Clive introduced the two male characters and a smaller part for a classic voice to be the storyteller.
So … no… Imaginaerium is and will remain what you hear now: a rock opera based on rock voices.
In closing, I would wish to thank you all for your answers to my questions. Do you have any closing comments for my readers, please?
Laura:
I hope that this album will enter their hearts and that everyone will give it a chance to grow as it deserves.
People that are not used to listen to high level music should be able to go into these stories with interest and passion instead and understand that they can enjoy powerful music even more than easy listening because it leaves you sensations after getting in it.
Thank you so much for your questions and your interest in our band/project.
Clive:
Thank you for the interview. I recommend that people get hold of this album, ’Rise of Medici’… they won’t be disappointed!