Some cultural products export better than others. Nivola isn’t bad by any means but it’s certainly a head-scratcher for a North American listener. There’s a strong narrative element to the music, which follows the exploits of the rubber-faced racecar driver featured in the booklet’s handsome comic-book illustrations. Tracks lurch without warning between circus music, cheesy Europop drum-machine rhythms, oompah piano, saccharine cello interludes, baroque harpsichord, a few dollops of clarinet from guest-artist Gianluigi Trovesi, tangos, motorcar noises, loud crowd noise, more cello interludes, more crowd noise, overdubbed saxophone choirs, a small dog barking, synthesized accordion, squealing tires, bel canto singers and a fit of coughing. It’s all quite amusing – the first time you hear it, anyway. But I think to really appreciate this one I’d have needed subtitles.

Nate Dorward

Cadence, April 2005