Hailing from the little nice coastal town of Porto San Giorgio in the Italian Central region of Marche, a region where tradition and old cultural memories are kept somehow alive, the composer and experimental sound artist Francesca Maria Narcisi proposed another interesting release, based on the revamping of sonorities of the past, is not new to this kind of releases: he drew inspiration from old folk tradition of accordion players to forge his collaborative release "The Accordion Sessions", an interesting output that he made with Giacomo Fidanza in 2017. On "Voluta" (Italian for volute), the sonic spirals he made wind around harpsichord, that is the main instrument he plays over the ten tracks of the recording, and baroque music, even if there are many interferences of the sonorities explored by Dead Can Dance (you can check songs like "Bylar" by the notorious group by Lisa Gerrard and Brendan Perry and compare against the suggestions evoked by tracks like "Over The Cage" or even some more rhythmical moments by Dead Can Dance like "Nierika" or some moments of their recent output "Dionysus", that could vaguely be evoked by tracks like "Blank Mass Tower / Floating Out" by Francesco Maria Narcisi) as well as some contemporary "new-classical" musicians like Max Richter or Christian Fennesz (that can come out while listening to the strokes on the harpsichord of the inspiring "Who Am I" or the touching tonal planing on "Segismundo"). The sleevenotes don't lie when they say its listening could render the idea of a walk into a bug gothic cathedral. Have a walk/try!