Repress incl. new artwork and 2 Bonutracks. Gabriele Fiori - already frontman of Rome-based outfits Black Rainbows and Killer Boogie and a key figure in Europe's heavy underground as the head of the Heavy Psych Sounds label and booking agency - was not exactly lacking for things to do. And yet, a couple years back, The Pilgrim started to nebulously take shape as an idea for a solo-project, something different than the hard-driving psychedelia and garage heavy rock for which he'd already been so revered. It wasn't until Jan. 2018 that he really got to putting songs together, but the end result on Walking into the Forest is a space-folk release with a personality unto itself.
Songs like opener »Peace of Mind« evoke some of Fiori's more rocking side, while »Sunset in the Desert« feels like an ode to the acoustic album Kyuss never made, and side B, which starts with the Hawkwind cover »Brainstorm« and ends with the moody strum of »Suite #2« -- originally from Void Generator's 2004 debut EP; when Fiori was in the band - hones a cosmic drift and textures that nonetheless remain accessible and organic thanks to their acoustic foundation.
»The main point in common with Black Rainbows is the diversity of the songs«, Fiori explains. »You have mind-dreams like ›Dragonfly‹ or ›Sailor,‹ or the more folk rock ›Peace of Mind,‹ passing through space with ›The Time You Wait‹ and the melodic-melancholic ›When I Call Your Name.‹« In completing the arrangements, Fiori turned to Black Rainbows drummer Filippo Ragazzoni, and as he says, »Songs came out so spontaneously and easy. I always played acoustic guitar and wanted to push further on this path. The songwriting, rehearsing and recording approach was so different from usual Rainbows or Boogie style, both to me and Filippo for drums, because all the instruments needed to be played smoothly, softly.«
With Walking into the Forest, Fiori evokes a sound that is both classic and fresh, melodically rich and creatively constructed. It is a new outlet for Fiori that demands spiritual as well as auditory engagement, and an all-things-permissible sonic context that one can only hope The Pilgrim continues to explore.