Ennio Mio Padre

KeepMoving Records presents the premiere release of The Demons of St. Petersburg by the legendary Ennio Morricone. Directed by Giuliano Montaldo (Sacco e Vanzetti, Giordano Bruno, Marco Polo), the film tells the fictionalized life story of Fyodor Dostoyevsky (Miki Manojlovic) who is caught up with political intrigue and a career crisis resulting from his crippling gambling debts. While trying to finish his latest novel on schedule and reveal an anarchist plot targeting the Tsar, the troubled author must fight his inner demons to move forward in life… The Demons of St. Petersburg marks the latest collaboration between Montaldo and Morricone who had scored the majority of the director's films. The key thematic material includes the propulsive anarchist theme for the assassination plot and a darkly passionate love theme for a string quartet and harp which underscores Dostoyevsky's troubled relationship with his stenographist, Anna.

Sogno consists entirely of new compositions, much of which are deliberately skewed toward the pop audience whom Andrea Bocelli was well on his way to earning in the spring of 1999. In other words, it's an album that seems to be a progression, at least on the surface, but it's also a consolidation of the crossover audience that he wooed over the course of the late '90s. Sogno pulls off that trick, balancing Bocelli's opera background with modern pop and Italian music. That stance alone – finding a middle ground between classical and modern pop music – will alienate the purists (who, truth be told, haven't been all that thrilled with Bocelli in the first place), but this doesn't discredit the music.

Sogno consists entirely of new compositions, much of which are deliberately skewed toward the pop audience whom Andrea Bocelli was well on his way to earning in the spring of 1999. In other words, it's an album that seems to be a progression, at least on the surface, but it's also a consolidation of the crossover audience that he wooed over the course of the late '90s. Sogno pulls off that trick, balancing Bocelli's opera background with modern pop and Italian music. That stance alone – finding a middle ground between classical and modern pop music – will alienate the purists (who, truth be told, haven't been all that thrilled with Bocelli in the first place), but this doesn't discredit the music.

Sogno consists entirely of new compositions, much of which are deliberately skewed toward the pop audience whom Andrea Bocelli was well on his way to earning in the spring of 1999. In other words, it's an album that seems to be a progression, at least on the surface, but it's also a consolidation of the crossover audience that he wooed over the course of the late '90s. Sogno pulls off that trick, balancing Bocelli's opera background with modern pop and Italian music. That stance alone – finding a middle ground between classical and modern pop music – will alienate the purists (who, truth be told, haven't been all that thrilled with Bocelli in the first place), but this doesn't discredit the music.