Runaway Totem - Manu Menes (2009)

Artista: Runaway Totem

Álbum: Manu Menes - L'intelligenza Cosmica
Año: 2009
Género: Zeuhl / Avant-Garde / Progresivo ecléctico
Duración: 72:26
Nacionalidad: Italia

Lista de Temas:
1. Alle Sorgenti di Kronos
2. Aevum
Tempo Alato
Il Tempo cos'è?
3. Phi-Ur
L'Essere e il Non Essere
La Liberazione
Abbandono in Manu

Alineación:
- Cahal De Bêtêl / vocals, guitars, synthguitars, piano, keyboards, synthesizer, atmosphere noise
- Tipheret / drums, percussions, gamelan, piano, keyboards, voice
- Dauno Giuseppe Buttiglione / telluric bass
- Issirias Moira Dusatti / vocals
With:
Mirko Fedrotti / vibraphone
Nadia Bortolamedi / clarinet
Anna Boschi / flute

Runaway Totem doesn’t belong to only one Age.
Runaway Totem is composed by Cosmic Beings.

Seguimos con la presentación de buenas bandas y proyectos internacionales, como para variar un poquito. Y esta es una bnada de culto (no sé aún que culto) de aquellas. ¿Les interesa conocerla?... Seguro que no la conocen: vean de que se trata:

Runaway Totem se formó en Italia como un experimento interesante y sumamente original de zeuhl, rock sinfónico y ópera. Su música logra abarcar algunos pasajes magmáticos, voces del tipo AreA o Banco del Mutuo Soccorso y generan mayormente un fuerte componente atmosférico que logra retomar algo del Amon Düül II temprano.

Kobaïan

Esta es sin duda una de las bandas más increíbles que se puede encontrar en Italia. Utilizan una rica instrumentación pobleda de teclados, voces y coros (cuya utilización los emparenta con los desarrollos de Gentle Giant), guitarras distorsionadas e instrumentos clásicos para crear climas etéreos, románticos, con cantos profundos y coros grandilocuentes que casi parecen invocaciones a lo divino. Algunos pasajes a lo Magma se convinan con su paroxismo vocal y enérgicos ritmos entrecortados a lo King Crimson, pero además con toques a lo Amon Dull y... y... ¿les interesa? ¿y porqué no lo escuchan ustedes?

Runaway Totem es una banda Zeuhl pero no es solamente eso, por sus venas corre el delirio cósmico de Christan Vander, pero sus combinaciones y climas sobrepasan el trabajo de Magma y los acerca a otra dimensión mucho más etérea por un lado y mundana por otro, o sea, más llena de climas y atmósferas casi espirituales y al mismo tiempo más cercanas al mejor rock experimental... hummm... ¿quedó claro? ¿y porqué no lo escuchan y listo?

Runaway Totem se formó en Italia como un experimento interesante y sumamente original de zeuhl, rock sinfónico y ópera. Su música logra abarcar algunos pasajes magmáticos, voces del tipo AreA o Banco del Mutuo Soccorso y generan mayormente un fuerte componente atmosférico que logra retomar algo del Amon Düül II temprano. Su regreso este año ha sido con un álbum de muy buenas magnitudes que puede llegar a contrastar con trabajos anteriores, al preferir canciones de muy larga duración, donde hay lugar tanto para secciones operáticas suaves, atmósferas instrumentales oscuras (primer tema) o momentos de rock progresivo más enérgico. La introducción del disco es meramente atmosférica con tintes de música de cámara, donde exploran ambientes oscuros y sombríos, del mejor estilo de Art Zoyd. El manejo de la base rítmica, el guitarreo y los aumentos en la energía sorprenden en el segundo tema, llegando a convertirse una buena parte de él en un completo trance hipnótico que sólo bandas tan profesionales como Magma podrían lograr. El aspecto vocal es todo el tiempo un punto a favor de esta banda, y no es la excepción el álbum Manu Menes, son voces perfectamente entrenadas, tanto las femeninas como las masculinas, y de hecho dotan de completa elegancia la música de Runaway Totem. El tercer tema también tiene un desarrollo instrumental bastante elaborado y experimental, entre otras cosas incluye una gran participación de un veloz vibráfono al inicio, pasajes de tranquilidad ambientales-electrónicos, otras ocasiones prefieren el sinfonismo e incluso pueden realzar momentáneamente sus tendencias más rockeras, a través de una estructura completamente dinámica, que va alternando y dando su lugar a cada instrumento y a las voces.
Una vez más, estos italianos me sorprendieron y me dejaron completamente satisfecho con este nuevo disco, gracias a su extrema habilidad musical (sobre todo compositiva,), la buena instrumentación que brindan y a su interés por seguir inovando.

Kobaïan

Demás está decir que no solo musicalmente los tipos son extraños y muy personales, en sí el grupo se maneja como una logia masónica, o algo así, porque no sé como se mueve una logia masónica, je. Quiero decir, tiene momentos de actividad y otros en los que entran deliberadamente en las sombras, mientras que cada uno de sus movimientos y actividades se encuadran dentro de un plan de los músicos, así, cada disco, gira o concierto forma parte de un ciclo que tiene un comienzo y un fin. En el caso de este álbum que presento ahora, corresponde al segundo movimiento de la obra "4 ELEMENTI 5". Dos años después de "Esameron", la primera parte del ciclo llamado "4 elementi 5", "Manu Menes - L'intelligenza Cosmica", fue publicado en 2009 como segundo documento de esa obra. Una vez más el disco trata de un concepto esotérico, místico y mitológico subyacente que personalmente no entiendo del todo, sin embargo, ni falta me hace para disfrutar su música.
Sobre las implicancias esotéricas que están impresas en sus obras y sus álbums, no me interesa adentrarme y está en cada uno averiguar el significado de cada trabajo, pero todo el trabajo de la banda, desde sus inicios (aunque los músicos, que no se consideran músicos sino "elementos", consideran que Runaway Totem existió desde siempre, desde el inicio del Cosmos) se puede tomar como una gran obra conceptual donde el tema es la historia del universo, y nuestra propia historia dentro de él.
Algo bastante más complejo que el "Be" de Pain of Salvation, no? Y ojo que no estoy desmereciendo el concepto de ese gran disco.

Este disco los invita a inspeccionar y escuchar la discografía de tan magnífica calidad que abarca su trayectoria musical, eso si les interesa, claro, por esto es sumamente raro, personal, y ecléctico.
Y son estos tipos, perdón, elementos que están tocando acá:

El uso de sintetizadores es utilizado con inteligencia, y la mayor parte de sus canciones son dotadas de ciertos ambientes oscuros pero calmos que sólo se lograrían gracias al uso de este instrumento clave en su música. Sin hacer uso de una instrumentación clásica, logra emular perfectamente arreglos orquestrales o melodías más apegadas al rock sinfónico, pero desde una perspectiva muy moderna a la que además se agregan cantos masculinos de ópera y el uso de algunos momentos de unos buenos machacques de guitarras estridentes. Todo el álbum (o la discografía) mantiene estructuras complejas y cambiantes, y dinamismos tanto en la base rítmica como en la intensidad sonora, a través de composiciones que tienden a lo impredecible, nunca sabemos que es lo que va a venir después. Así es la música de estos italianos, compleja pero moderadamente melódica, intensa pero con momentos delicados y dedicados a lo atmosférico; y hay muchas más cosas que ofrecen sus álbums, mucho detalle y pequeños elementos hay en toda su música. Su gran talento los colocó como una banda de culto dentro y de a poco también fuera de su país, y también como un importante referente del zeuhl, sobre todo desde el punto de vista de la vertiente más moderna. Y que además ya empezó a dar sus retoños, de esta banda surgió Universal Totem Orchestra y el Modern Totem Ensemble, bandas formadas por miembros (perdón, elementos) fundadores de Runaway Totem que ha decidido dar su propia versión de esta historia del Cosmos. Eramos pocos y parió la abuela...

Runaway Totem parece mejorar con cada álbum, y en cada álbum parece mejor enfocado su misticismo inspirado, aunque no escuché sus últimas obras. En cuanto a este disco en especial, el séptimo álbum de su combo místico, es foramdo por 3 suites de larga duración (más de 20 minutos cada track), canciones oscuras, esotéricas, espaciales, atmosféricas pero al mismo tiempo encantadoras. El arquetipo Magma está siempre presente, pero mezclado con el gran esfuerzo creativo en la superposición de voces, coros, clarinetes, flautas y vibráfonos. Puede gustarte o no, eso lo podemos discutir, pero no podemos asegurar que esta es una gran obra musical.

Vamos con un poco de la historia de la banda, para que la conozcan, y escrita por ellos mismos:

Runaway Totem exists since ever.
The history and origin of Runaway Totem are the history and origin of the Cosmos. Runaway Totem decided to avow itself in this reality through a universal language that, like the math, can be understood by everyone: the Music. For this reason it started its Opus in 1988 at Riva del Garda (Italy), as the result of a specific project of Cahål de Bêtêl and Mimïr De Bennu (Renè Modena).
The Elements that compose Runaway Totem during the time inhabited different people. It's important to understand that their rotation isn't decided by human vicissitudes, but it's the result of Runaway Totem's will. Each Element, each event, is functional to the target that Runaway Totem gave itself. Behold then, when an Element goes away, it's because its function in that Place and Time has ended. So the Element goes back to its ancestry place, while the person who hosted it can't help from leaving the group.
Runaway Totem's Elements exist since ever and will exist forever: both those who already manifested themeselves and those that are waiting for their moment to come.
(...) After a first period passed composing, Runaway Totem starts a series of live concerts, working with theatrical and dancing equipes. This first phase takes the name of ANALISI and gives as a result the videotape of a live concert.
The second phase of the project is called SINTESI, and begins in 1991. It's in this phase that starts to work with Runaway Totem
This phase is followed by a video recorded live in Summer '91 (LA TANA DEGLI SPECCHI), a demo tape with the same title and other recordings, like two other videos.
(...)In Winter ‘92/’93 is recorded the first album, TRIMEGISTO, distributed by the BLACK WIDOW label (Genova – Italy).
The '94 is the year of the beginning of CRONOS, new group's project phase. This new phase takes with it many changes, the most evident is the renewal of the rhythmic section, and the return of Mimïr De Bennu (Renè Modena).
(...) In Winter '95/'96 is recorded the second album, called ZED, and distributed by BLACK WIDOW label (Genova – Italy).
The album's release marks the end of the previous phase and the beginning of the new one, called KALPA. Here is decided to interrupt live concerts and to "enter in the Shadow".
(...) 1999 is the year of the third album, ANDROMEDA, distributed by the French MUSEA RECORDS. In the same year Mimïr De Bennu leaves the group (and so Renè Modena).
In order to continue the project of the CICLI COSMICI (COSMIC CYCLES) trilogy, started with Andromeda, the group equipes itself with a recording studio, the ALBULA STUDIOS.
The new compositions for the second part of the trology come to life in 2002, with the album TEP ZEPI (L'ERA DEGLI DEI), distributed by MUSEA RECORDS (France).
The new Runaway Totem's shape appears in 2003, with the exit of the Elements Nezah and Vîrhür, followed by Dario Gelmettti and Roberto Veronese.
(...) Between 2003 and 2004 Cahål de Bêtêl and Tipheret compose, perform and record the last part of the trilogy, PLEROMA, distributed once again by MUSEA RECORDS (France).
The 2005 leads the path to the new phase, called NOUS, where is confirmed the decision to don't perform live and to "stay in the Shadow". At the beginning the line-up remains unchanged.
ALBULA STUDIOS is renewed, and transformed in TOTEM RECORDS STUDIO, with new resources and technologies.
In this phase the new project 4 ELEMENTI 5 is born.
Requiring this project a tougher and more aligned with Runaway Totem's thought expressive base, in 2007 is founded the RUNAWAY TOTEM RECORDS.
In this cunjuncture another Element comes.
(...) The first movement of the new project, ESAMERON, recorded in Winter 2006-2007, is produced by RUNAWAY TOTEM RECORDS and released through the official Runaway Totem Website. It's also available on the catalogue of the French MUSEA RECORDS.
Beside in 2007 begin two new parallel works: the first one regards the second movement of 4 ELEMENTI 5, called MANU MENES. The second one is part of the new REMINISCENZE (REMINISCENCES) cycle, that comprehends the next release of live recordings kept by Runaway Totem before it "enters in the Shadows".
At last 2008 records the return at the bass of Dauno (Giuseppe Buttiglione), essential Element for helping in the achievement of the new 4 ELEMENTI 5 movement, MANU MENES, and in the Runaway Totem thought.
(...) The year 2009 opened with the release of the new work, second movement of 4 ELEMENTI 5, MANU MENES. Produced by RUNAWAY TOTEM RECORDS, it's released by the frence MUSEA, by the italian LIZARD RECORDS, by the american SYN-PHONIC and, through the official web-site, by RUNAWAY TOTEM RECORDS itself.
In order to realize this album, another Element descended among us, contributing with her voice in giving substance to the Opus accomplished.
(...) 2010 is a very important and full year for Runaway Totem.
In December the FIRST BOOK OF REMINISCENCE, AI CANCELLI DELL'OMBRA (AT THE GATES OF THE SHADOW) was released, and distributed as usual by the Frence MUSEA, by the Italian LIZARD RECORDS and Andromeda Relics and, through the official web-site, by RUNAWAY TOTEM RECORDS.
This is the first album of a side project, aimed to release rare Archives of the Past.
After the release of this Album, Hor-Douaty's Time on this World was over, and he went back to the Origin.
So Runaway Totem's line-up changed.
During this year the third and last movement of 4 ELEMENTI 5, LE ROI DU MONDE has been recorded and will be released in Spring 2011. This Album signs the end of the first Symphony of NOUS.
(...) This last Album is so important that a new Entity descended on this World, in order to support Runaway Totem with its Work.
We're talking about MODERN TOTEM ENSEMBLE.
Runaway Totem is the Star, and Modern Totem Ensemble is a Planet orbiting around it.
It's like other Planets, that during the Time will show themeselves and descend on this World.

Runaway Totem

Para finalizar, vamos con unos pocos reviews:

I Runaway Totem sono un contenitore di energia cosmica, traslata in onde sonore, generate dall’uomo sotto il nome “Musica”. No, non sono impazzito, questo è il vero pensiero artistico di questa longeva band, che posa le sue radici nel lontano 1988. Francamente non è solo il loro pensiero, ma anche quello di altri nobili artisti, fra i quali ricordo sempre con estremo piacere il grande cantante delle Orme, Aldo Tagliapietra, il quale sostiene a sua volta che tutto è già esistente nel cosmo, è solo l’uomo che deve captarlo.
Dopo numerosi dischi e svariati cambi di line up, i Runaway Totem li troviamo oggi con Cahal De Betel alle chitarre, voce, tastiere e sintetizzatori, Tipheret alla batteria, Dauno al basso e Issirias Moira Dussati alla voce. Le energie da loro captate si racchiudono in “Manu Menes”, secondo movimento di quattro elementi. Un lavoro molto lungo, settantadue minuti di energia suddivisi in tre suite, della durata media di ventiquattro minuti l’una.
“Alle Sorgentidikronos” è la prima. Si apre in maniera greve, cadenzata e raccoglie energia ad ondate, alternando frangenti delicati ad improvvisi sbalzi umorali e narrativi. Gli strumenti sono come i numeri per la matematica, il fine per il risultato. “Aevum” ci descrive il tempo, lo spazio dentro di noi umani, dotati di mezzi per attingere l’energia cosmica. La musica è più ritmata, il basso è più presente, pur sempre privilegiando tastiere e sintetizzatori. Seguono chitarre nervose ed un cantato femminile, a cavallo fra gli anni ’70 ed il New Prog primi anni ’80. Ottima la parte strumentale, coinvolgente e d’atmosfera. “Phi-Ur” è il pezzo più lungo del disco, il percepimento dell’essere e del Non essere. In esso si articolano diverse influenze sonore, compresa l’improvvisazione Jazz a dimostrazione che la band è cosciente dei propri mezzi e della propria tecnica. Il vibrafono che si sente è suonato da Mirko Pedrotti.
Io non definirei questa musica “cosmica”, mi viene più naturale chiamarla “Totale”, in quanto possiede tutti gli ingredienti per spaziare da un genere ad un altro. Io sono più terreno, ma quando ascolto certe vibrazioni, sono capace di estraniarmi e di goderne i benefici.
E bravi i Runaway Totem...

MS

What a strange, undefinable music. Need to say that this is my first "Runaway Totem" release I've tasted and to be honest, I don't really know what to think. Which is bad, because I mostly do know. Um, so we have ubiquitous music, this can be a good thing, don't worry. First track, Alle Sorgenti di Kronos quite a disappointed me. Full of thin narrating line, atmospheric sound which unfortunately failed to provide prog masterpiece. More like experimental occasional jamming to me from some Liquid Tension-like group. Second one, Aevum is better, because it gives to us, listeners some things where we can hook on. It (have to admit that also certain parts of first song. After all, it's over 20 minutes of music), uses complex layering structure, where music graduates towards the end in every part (see tracklist).
Also have to mention important fact that this music is quite extraordinary. You'll for sure feel like listening "how-to-done-in-different-way" Zeuhl, than you were used to listen from Magma. After all, you probably should have this fact on mind when listening such album, it's Zeuhl music, so rules are changed, sound is twisted to The Greater Good and we're happy, aren't we ? Last track then continues in similar tone as previous one.
4(-), interesting one, but certainly needs more listens to prove it's strength.

Marty McFly

Formed in 1988 by Roberto Gottardi (aka Cahal de Betel) and Rene Modena (aka Mimir de Bennu) in the north-eastern Italian town of Riva del Garda, RUNAWAY TOTEM are anything but a typical rock band – members are called by the name ‘elements’, and the whole output of the band is based on esoteric concepts. On account of this peculiar concept, Runaway Totem have never recorded an album with the same lineup: founder Cahal de Betel has been the only constant feature, while drummer Germano Morghen(aka Tipheret) has been with the band since their second album, “Zed”. “Manu Menes”, the band’s seventh album (subtitled “L’Intelligenza Cosmica”, or cosmic intelligence), sees the return of bassist and original member Giuseppe “Dauno” Buttiglione, who left the band after the release of their debut album to found Universal Totem Orchestra. Runaway Totem’s third, fourth and fifth albums make up the “Cicli Cosmici” trilogy, while “Esameron” and “Manu Menes” are part of a new project called “4 Elementi 5”, based on the ancient science of numerology.
In what might be seen like an interesting coincidence, the cover of “Manu Menes” depicts a sort of globe made of lava – a substance that also goes by the name of magma. Indeed, the Magma best known to progressive rock fans are the name that has been most often mentioned by the various reviewers of Runaway Totem’s albums. This, however, does not imply that the band deserve the tag of ‘poor man’s Magma’ that some have attached to them, since their music does possess its own individual character, and their albums are informed by ancient doctrines that have very little in common with the French band’s sci-fi-inspired world of Kobaia. This album in particular delves deep into such sources as a collection of ‘alchemical sonnets’ by a 17th-century Italian scholar, as well as ancient Hindu sacred texts (Manu being the name of the ancestor of mankind in Hindu mythology). As to the musical aspect, the strong Zeuhl and RIO imprint are tempered by the unmistakable influence of the long-standing Italian musical tradition, especially opera and Gregorian chant. It should already be quite clear that “Manu Menes” is not for the faint-hearted. The combination of esoteric content, theatrical vocals, and music that veers from the disturbing, arch-Gothic atmospheres of opener Alle Sorgenti Di Kronos to the free-jazz suggestions of the third part of album closer Phi-Ur makes for a wild ride; besides, the album’s running time of over 70 minutes may require some occasional use of the pause button in order to avoid aural overload. The three tracks featured on the album all exceed 20 minutes in length, the second and third divided in movements. Repeated listens will slowly unfold the distinctive character of each composition, as well as the eerie, mysterious aura they share. In keeping with the band’s eclecticism, there is little (if anything) in album opener Alle Sorgenti Di Kronos that might remind the listener of Magma. Any comparisons should rather be drawn with bands like Univers Zero or Thinking Plague, or even with legendary Italian Seventies outfit Jacula – particularly in the use of emphatically recited vocals imparting a genuinely ominous feel to the music. The track opens with the sound of tolling bells (a bit of a clich? perhaps, but convincing none the less), slowly fading away to silence; then slow, sparse piano chords enter over faint percussive sounds, growing higher-pitched, crashing and discordant. The overall effect hints more at contemporary academic music than rock, with a strong cinematic feel. When the (male) vocals make their first appearance, it is with the solemn yet forceful tone of a medieval town crier, announcing the birth of the ‘prodigious child’, Manu Menes. Ominous keyboards then introduce the intense, almost overwrought vocals of Issirias Moira Dusatti; after that, the track turns more experimental, while retaining its darkly rarefied atmosphere, occasionally punctuated by the beautiful yet disquieting notes of a clarinet. The Magma references emerge in the central track of the album, the two-part Aevum (the shortest item at slightly over 21 minutes). Compared to the previous piece, the instrumentation is richer and more intricate, the drums taking the lead in occasionally explosive manner, aided and abetted by Dauno’s ‘telluric’ bass. With the strong operatic flavour of both Cahal de Betel’s and Issirias’ vocals, high-powered drumming and haunting tapestry of keyboards, the track comes across as a sort of controlled chaos in the first half, while the second half is a distinctly rockier, exhilarating cavalcade enhanced by some fine guitar work and a powerfully choral feel. Interestingly, one of the vocal interludes sees Cahal chanting names of Hindu deities, with the music following suit in its noticeable Eastern inspiration. In the third (and longest track), Phi-Ur, the distinctive sound of the vibraphone takes centre stage, contributing to the avant-garde feel of the whole piece. Eerie, ambient-like passages are still featured, but as a whole the music is more jagged, with asymmetrical rhythms and, at times, a distinct sense of tension. The Eastern influences evidenced in the previous track come back with a vengeance, and some parts could pass as religious chants – which in a way they are, as the lyrics are taken from the Bhagavad Gita, one of the most revered of Hindu sacred texts. This is undoubtedly the most demanding track on the album, and, especially in its second half, it drags on a bit – perhaps it would have been a good idea to cut it somewhat shorter to avoid the onset of listener weariness. In spite of its somewhat daunting nature, “Manu Menes” is a fascinating album that should be particularly appealing to those with a keen interest in the arcane, as well as a penchant for intellectually engaging music. Obviously targeted to a niche audience, it is a fitting display for the finely crafted work of an outfit whose artistic ambitions exceed those of ‘ordinary’ progressive rock bands.
Conclusion: On account of its peculiar structure, not to mention its length, “Manu Menes” is an album to be approached with caution. While fans of Zeuhl and RIO / Avant-Prog are very likely to be impressed, those looking for a more conventional approach are equally likely to be scared away right from the opening notes. At any rate, Runaway Totem are definitely one of the most distinctive outfits on the Italian musical scene, constantly searching for new ways to express the intriguing concepts behind their music. Surely an acquired taste, but also one that deserves more recognition.

Progressor

Just three long tracks here which to say the least are all quite extraordinary - from this Italian outfits latest album.
First off we have a percussion and piano based piece set to the ticking of a clock, which does have some passages reminiscent of early Art Zoyd with the bass pulses and heavy piano stabs. Some odd vocals also enter and there's some rather atmospheric ambient sections which appear on all three tracks in places. This first piece is the least musical of the three but does have it's moments for anyone into the zeuhl style and who likes a challenging listen.
The other two legthy pieces are more accesssible and progressive, which once again have some great ambient sections and more melodic vocal passages with hints of King Crimson in the guitar department. All very interesting and quite impressive.
I've not as yet heard the earlier albums by this band ( Andromeda is supposed to be there best! ) but this album is certainly worthy of me, or you checking them out if your not familiar. I also understand these are linked in a small way to that other great Italian band "Universal Totem Orchestra!

Howard Whiting

Para finalizar, este álbum fue nominado como mejor álbum progresivo para los ProgAwards 2009, así como en Progarchives. Mi recomendación es esta:
- Si te gusta el Zeuhl, ni te atrevas a perderte esta belleza.
- Si eres un curioso irreprimible y quieres experimentar con todo lo raro que se te cruce en el camino (yo soy de estos) para ver si te lo soportan tus oídos, tampoco te lo pierdas. Te puedes llevar una gran alegría si tus oídos logran juguetear con estos sonidos, como me pasó a mí.
- Si te gusta la veta más sinfónica y clásica, puedes ver si esta combinación te resulta de agrado, no es seguro, pero tampoco imposible.
- Si eres amante de los ritmos complejos y las buenas composiciones del rock progresivo, amante de King Crimson, por ejemplo, y no temes a la experimentación, también te lo recomiendo.
- Si te gusta el pop más comercial y de melodías faciles... yo diría que no... ni te molestes en escucharlo ¿y qué carajo estás haciendo en este blog?

Recomiendo este álbum a todo amante de la buena música, aunque sea de la más rara que puede circular por el universo.

www.runawaytotem.com
http://www.myspace.com/donatozoppo/photos/35042607

Lamentablemente no pude encontrar videos de este álbum, pero incluyo un tema de su (creo) último álbum. Escuchen como suenan en vivo: