Few artists are able to generate maintained interest in a song that is six or seven minutes, so we were a bit interested when Galliano Sommavilla announced that he had just released a forty-two minute composition. The aptly named “one song” has considerable narrative qualities to it. Led initially by classical / new age-infused piano lines, the track ultimately moves through a number of distinct styles and approaches as one progresses. The complexity one one song gradually increases as Sommavilla’s piano arrangements begin to change time signature conventions. While there are nods to previous sections of the composition, the intensity of segments at around the four/five minute mark are a peak on this single’s terrain.
Another delightful segment of one song occurs as Galliano moves towards a breezy and airy, classical-infused segment at the 10/11 minute. While this part still makes sense with the rest of the arrangements up to this point, I feel that the subtle shift in styles isd a smart decision. Something similarly intelligent occurs during the 16:30-17:30 mark as Galliano moves in and out of slower and quicker movements.
Sommavilla has made a forty-two minute composition keep fans interest from the beginning until the song’s final throes. The narrative quality of this instrumental arrangement is far and away the best we’ve heard so far this year. Fans should keep an ear open for the gradual shift towards a more complex and quicker section (around the 27 to the 32 minute mark), a vital inclusion destined to lock one in for the song’s final ten minutes. While Sommavilla does a solid job in making the effort a sort of ouroborosa, there are a number of new inclusions in the final few moments of one song that add yet another layer of depth to the release. Slowing things down, Galliano is able to bring in a few last beautiful piano rolls as the song winds to a close.