Perhaps most effective likened for an Italian Tom Waits, singer/songwriter Vinicio Capossela channeled influences spanning from two-fisted novelist John Fante to poet and philosopher Samuel Taylor Coleridge to forge an experimental, profoundly literary method of popular music quite unlike other things in the contemporary European sphere. Blessed in Hannover, Germany, on Dec 14, 1965, Capossela emerged old in the underground night clubs of Italy’s Emilia-Romagna area. A protégé of folkie Francisco Guccini, he released his debut LP, All’una e Trentacinque Circa in 1990, earning wide acclaim for his idiosyncratic melodies and agreements motivated by tango and gypsy music, aswell as lyrics that drew evaluations to authors like Charles Bukowski and Louis-Ferdinand Celine. Modì implemented in 1991, and the next year Capossela transferred into theater, credit scoring works for professional Paolo Rossi’s Milan-based troupe, especially Su la Testa. Following albums, including 1994’s Surveillance camera a Sud and 1996’s Il Ballo di San Vito, both enhanced and extended Capossela’s strategy, and 2000’s Canzoni a Manovella gained the Targa Tenco as well as the PIM, two from the leading honors in Italian music. After many years of touring, which yielded some live LPs and movies, Capossela in 2004 released his first book, Non Si Muore Tutte le Mattine. 2 yrs afterwards he finally came back to the studio room for Ovunque Proteggi, documented with electric guitar great and longtime Waits sideman Marc Ribot. Following albums like Da Single (2008), The Story-Faced Man (2010), Rebetiko Gymnastas (2012), and Canzoni Della Cupa (2016) helped additional cement Capossela’s popularity among the most significant Italian songwriters of his era.