Written, Composed, Arranged, Performed, Recorded, Mixed and Mastered by FALLEN/The Child of A Creek between April and May 2014 with Synthesizers, Pianoes, Electric Pianoes, Oboes, Santoors, Processed Electric Guitars, Processed Textures and Percussions.

Notes: “Secrets of the Moon” is my 1st release as FALLEN and I could say it’s a very important step for my musical journey so far. “Secrets of the Moon” shows and contains dreaming atmospheres, dramatic and melodic drones, misty landscapes, relaxed sounds, space noises and phrases full of tension and suspense. In my ears and my heart, it sounds like a sort of minimal dreaming voyage through memories of a golden past, when trust wasn’t an empty thing closed deep in troubled waters. The idea behind the making of “Secrets of the Moon” was to tribute, in a way or another, some great composers I grew up with like Tangerine Dream, Klaus Schulze, AshRa Tempel, Popol Vuh but during the recording of the album, I discovered how deep the compositions were going beyond that idea and how hard I was experiencing with sounds and colors enclosed in my previous record as The Child of A Creek however, although the road I used to run for that project was mainly folk oriented.

Record Label: Psychonavigation Records (IRELAND)

Distribution: Psychonavigation Records (IRELAND), Darla Records (USA & ASIA), Arabesque Distribution (UK), Amazon

*** LINKS ON FACEBOOK here @The Child of A Creek and here @Lorenzo Bracaloni ***

ITALY: ask your copy writing to keith78@virgilio.it


-REVIEWS UP TO JULY 2015-

Rockit, July 2015, review by Antonio Belmonte. In front of that title and in front of that shameless album cover art, you'll soon realize the author's nostalgic affection towards those unforgotten (and unforgettable) sound galaxies that have made Germany (and not only) great about 40 years ago. After seven albums released in a decade, now the prolific The Child Of A Creek decides to change his musical horizons, chosing for the occasion a new moniker - Fallen - throwing heart and brain in the nets of the great cosmic teutonic fathers (Tangerine Dream, Ash Ra Tempel, Popol Vuh), implementing the catharsis of the previous instrumental "Hidden Tales and Other Lullabies" with painstaking folk influences and a touch of magic destructive dreams. What comes out is a kind of sideral ambient that the synthetic expansion of rite combines the unusual warmth of exotic percussions with oboe and santoor delicious inserts. A very personal melodic sensibility does the rest successfully collecting six mini suites (about 9 mins each) that develop harmonies and suspended minimal filaments close to an old Brian Eno: listen to title track's dreamy stellar folk, the bewitching santoor that fills Eastern sounds in the expanded "Golden Dust", the arcane and twilight ceremonials evoked by "Ravenhand" and "Cosmos", the disturbing astral solitude in "Of Dreams (and Wounds)" and the conclusive "At the End of the World", they mark the boundaries of a passionate existential musical retelling, rejecting dangerous emulations but looking at the past as a good escaping route.

Rumore Magazine, July 2015, review by Alessandro Besselva Averame. SCORE: 7. The tuscan Lorenzo Bracaloni leaves The Child of A Creek (his other folk oriented project) aside (temporarily?), giving shape to a new project under the new monicker -Fallen- approaching to purely instrumental territories. A kind of cosmic music which further develops the path started with his previous record "Hidden Tales and Other Lullabies", released last year under his usual monicker. The otherworldly oboe that illuminates the inaugural title track making its way between synthetic lappings and sparse percussions, it embodies ancestral subplots that emerge from the album tracklist, giving the to the music here a solemnity which recalls the Dead Can Dance. A respectful deference to the cosmic couriers and an idea of psychedelia coming directly from dawn of times they do the rest.

Chaindlk (US), Luglio 2015, review by Ibrahim Khider. Since my childhood, music remains the admission cost to the theater of the mind. My parents, teachers and friends played instrumental music as a way to evoke and inspire imagination and Secrets of the Moon is one of those currencies. Secrets... is minted in musical memory fragments whose oboe conjure The Dream Academy, ethno-percussive bits, the ether of Muslimgauze and synthesizer tones and melodies hint at Dead Can Dance, among other pop retro fragments that are molten in a kind of nostalgic foundry. It seems Fallen's goal is to channel experience and personal narrative into a kind of soundtrack, and Secrets of the Moon largely succeeds. The album and track titles themselves suggest storybook tales to enthrall young and old alike. The title track opens dramatically enough, with simulated gusts of wind that might pass as moans from a chorus of spirits while resonating drones intone and reverberate as if along massive canyons followed by ethno-percussion fragments and gusts of wheezing wind. A third of the way through the title track, an oboe melody materializes and hovers like a friendly guiding spirit light in these darkened canyons. 'Golden Dust (the Vanishing)' holds more dramatic tension, melodies crafted from santoor and synthesizers, accented with rock guitars that seem to narrate the plot line of the story. 'Ravenhand' moves the narrative along, accompanied by our friendly oboe, again with santoor and percussion'ambushed by drone midway, but melody returns and prevails to the end of this piece. 'Of Dreams (and Wounds)' is the more magical (and dreamlike) piece whose reverberating synthesis evoke 80's Philip Glass pop compositions that has both a brooding and mysterious quality. For this listener, moments of nostalgia are experienced, particularly when the saturated guitar power chords waft from the ether near the end. 'Cosmos' is darker, whose wind instrument melody reminds of Angelo Badalamenti's more dramatic scores. Secrets of the Moon is book-ended with 'At the End of the World', a lovely downtempo synth-pop-esque piece with gusts of ambient drone and restrained hand-percussion and electric guitar accents that concludes our story on a calmer note. Perfect music for closing film credits, actually. Secrets is of the Moon is what you play to a writing class, in a darkened room to give inspiration before the creative ideas flow. It is both evocative and dramatic in a wistful way that just fits the traditional storybook mood. One gets the feeling that no matter how dark Fallen's narrative gets, all will be well by the end of the album. These are the sounds of enchantment, wonderment and fantasy with enough drama to keep the listener engaged.

FeltthatReviews (UK), July 2015, review by Hubert Hearthertoes. Released by Psychonavigation records from Ireland newest album of Fallen, previously known as Child of a Creek is a highly elaborate, instrumental piece which can be easily classified as ambient music. To some extent it is obviously true - a piece of work that is stunningly arranged with not only the obvious array of electronic instruments but also oboes, santoors and guitars - a highly melodic and narrative in its own kind made me think of 1980's influences in a most gentle of ways transposing traditions of that era - especially 4AD, Coil, Asmus Tiechens, Zoviet France, Rapoon and later shades of SPK as well as more classical stuff like Ash Ra Tempel, Klaus Schulze or even illustrative mantras of Popol Vuh. But for what's it's worth - it goes individual path. Somehow it makes me think that such a great album needs really a more elaborate cover, and I am not talking about visual aspect but the aspects of plastic cover that might be replaced with something more handmade. Secrets of the moon has plenty to offer, you can use it as a soundtrack for meditation as well as an illustrative piece which helps you to experience the poetry of the sound - linear and harmonious, nevertheless always giving food for thought and senses.

Goldmine Magazine (US), June 2015, review by Dave Thompson. Better known by his Child of a Creek alias, Fallen is Lorenzo Bracaloni’s latest venture, a dense, dark electro set that could easily be mistaken for a horror movie soundtrack, but which builds into a sequence of moods that could never rest content within a single plot line. It’s cheap and easy to compare things to Tangerine Dream, although “Golden Dust,” for one, certainly looks in the direction of Ricochet, the Tangs’ mid-70s live album and the culmination of their early, darker driftings. Elsewhere, however, the album flirts with so many other elements that straightforward parallels are pointless. Secrets of the Moon is a banquet of whispers, chants, drones and drifting, shifting imagery, the sound of ghosts moving silently through forgotten, cobwebbed clouds, while unseen watchers agitate the atmosphere itself. Again, the horror soundtrack analogy comes to mind, but warped through a prism of lost Krautrock classics and then oddly updated to help you remember – the nightmares that frightened you most as a child are still alive and well today. And they’re whistling some shockingly memorable melodies.

*DAVE THOMPSON HAS INTERVIEWED ME (10 questions) FOR HIS NEW BOOK ENTITLED “A SEANCE AT SYD’S”, RELEASED ON JUNE 2015

OndaRock, June 2015, review by Matteo Meda. SCORE: 7. Lorenzo Bracaloni is not the first italian folksinger with the passion for atmosphere, who has suddenly decided to jump into the world of ambient music. Without thinking too much, names like Paul Thomas Strudthoff come to mind (today known as Hoff, an author of one of the most atmospheric and valid italian paths) or Andrea Vascellari (known as Lullabier, but his project called Firetail deserves more than our imminent recovery). Without the will to do not consider someone like Gabriel Sternberg, who has dedicated an entire career between tradition, songwriting and atmospheric developments. If you want to figure out where “Secrets of the Moon" finds its roots, you must have listened to one Child Of A Creek’s album (Lorenzo’s other monicker as a folksinger). His love for the pristine, ancient, magic, legendary, declined in a time of a neo-folk between Kozelek and Greg Weeks, it takes today a new shape with his new project and he does so in a record which recall (and once again in a era far from post-yuppie commonplaces, typical for the second half of the 90s) an attitudine under the improper macro definition of new age. We hear the harmonic lessons by the last Erik Wøllo and some echoes of a more rhythmic Steve Roach, included however in a distinctly fantasy context. The electronica here is called to embroider rhythmic tissues on which exquisitely cinematic melodies are grafted and this is not difficult to compare to Medwyn Goodall and Henri Seroka best things. The overture of the title track is the best presentation possible in this sense, beyond a strong capacity (absolutely not common) to slip into listener’s mind within a very few of plays, among guitars reverbs and oboe’s irresistible melody. A similar effect is guaranteed by the synthetic environments of a song called "Of Dreams And Wounds", while the majestic "At The End Of The World", "Golden Dust (The Vanishing)" and "Ravenhand" are much closer to the californian tradition, between trancedelia dear to Byron Metcalf and analog arpeggiators. "Cosmos" is almost a separated story, stripped in his timid chamber melody dear to Tim Story, basically in opposition to what the title would seem to imply. A semi-paradox which tends to intrigue but not out of tune at all, allowing even a surprise effect very rare in the ambient common places. About choice of sounds, constitutive simplicity and structural parts of the tracks and the atmospheres evoked here I hear a sort of naivete, but that tends to be the main advantage of the entire work. Bracaloni plays with atmospheres, spontaneity and enthusiasm of a child sorrounded by toys, projecting his fantasy and creating an appealing delicious mixture unsuitable for snob people but highly recommended to all those who have never sacrificed or disavowed the fruits of his childish fantasy.

SpazioRock, May 2015, review by Francesco De Sandre. The Child of a Creek's moon landing is slow and sublime it and crystallizes dark moments which take over on the listener and especially on who composes music, till generate a new musical project called Fallen. Distant guitars cry softly the rise of synthesizers in these obscure games which "Secrets of the Moon" is made of as an accomplice of inhibition to reflection, based on cosmology that has always inspired and frightened and based also on the concept of unattainable or on the moment immediately prior to the perception of a new phase. Because the new Lorenzo's record is based on lunar and human phases and, his whole production, is tied up to any natural and unnatural scenaries. The elevation in Fallen is complete and silent and that's allow us to get lost in the unconscious and in the inconceivable which opposes, as a loop, to the universal and visionary scenario the artist explores in respectful order.

Extra! Music Magazine, May 2015, review by Ida Stamile. Under the moniker of The Child of A Creek, Lorenzo Bracaloni has passed through "Quiet Swamps"’s folk delicacies and "Hidden Tales And Other Lullabies"’s etheral drifts and now, with his new musical creature under the name of Fallen, it reaches outer minimal spaces. "Secrets of the Moon" is a container of sounds and rumors coming directly from the space. In fact, the record floats (in the most literal sense of the term) through smoky evanescences, cosmic abysses and sound winds in a continuous stream of suspense and dreamlike rhythm. Reworking the experimental sounds of Tangerine Dream, Klaus Schulze, Ashra Tempel, Popol Vuh and Brian Eno with the use of a more “soft” electronica, Lorenzo Bracaloni creates six dynamic instrumentals, enveloping and evocative, lying on timeless intimate stamps. Among synthesizers, piano and oboe, we floats between meditative passages (listen to songs like Secret Of The Moon, Ravenhand), night visions (Of Dreams And wounds), molecular delicacies (Golden Dust: The Vanishing) and sidereal atmospheres (At The End Of The World, Cosmos). "Secrets of the Moon" is an eternal soundtrack, a timeless meditation, an inner journey into infinite made of sound stars. It's like a lunar nebula which keeps her intimate and her dark secrets at best.

Raised by Gipsies (US), May 2015, review by Josh Macala. "Secrets of the Moon" begins with static and a sharp sound cutting through it, which could be a wolf if you are out in the fog of the woods or simply a boat horn if you are at sea. This becomes electronic loops with bells which are something out of a serious sci-fi movie or perhaps one my favorite go-to comparisons: The X-Files. That certain secada sound is in the background as the electronic loops slow down a little and waves come crashing through in an almost haunted way. Is one of the secrets of the moon perhaps that there were more people than we knew sent there and some of them have died, their lost souls trapped there? A horn comes in next and it reminds me of an almost snake charmer sound, but yet it's not something I can quite place in terms of saying flute or saxophone but it does indeed sound like a woodwind instrument. And just like that, everything just disappears except for the static fog. Some key tones come out, but this is once again just sounding haunted. It's like a movie about ghosts but in a sci-fi way and not a horror way. I'm thinking "Fire In the Sky", for those who have seen that. The dark synth pushes through like a Nine Inch Nails song and then sounds come through like whispers but I'm fairly sure they are not actually vocals and just give off that appearance. Keys are on a loop as waves of sand crash in the background, like turning an hour glass up and down. That woodwind sound returns and I wonder how people play music in space, with an instrument such as this. Is it a clarinet? This is just such an interesting mixture of sounds, going somewhere between electronic and what could only be dubbed as "world" music, but it just works so well together. Distorted guitar notes somehow end out the track and for a ten minute masterpiece that single song was worth the asking price as it accomplished more than some others can in an entire album of twelve songs that go for an hour or so. Still we have five more songs and the second is called "Golden Dust (The Vanishing)" so based on the "vanishing" part you know it's going to be just as eerie. It opens with piano loops and the sound of static in the background, such as the trapped souls. As the pace picks up, drum beats come in as well and this has turned into something like the "Halloween" theme, which to this day still sends shivers down my spine. Cymbal crashes and rides come out and this just has gone into full on alien/sci-fi mode with the hollow glass tones. I'm not sure if this has the qualities of a 1970's horror movie in full yet, but it is definitely making the soundtrack to a most excellent and serious sci-fi movie. Sounds that could be out of the fax modem genre come ringing through as all this is happening as well and then we suddenly just converge into this western style guitar riff. This changes the pace into the synth notes of something out of the 1980's and maybe even that sort of rhythm from an artist who is currently riding an electronic wave. Strings come through in waves and we've stumbled upon some sort of Beverly Hills Cop orchestra. A couple of harsh synth notes strike down like lightning to end the track. The third song, "Ravenhand", opens with the complexities of acoustic guitar notes that you might recall from The Child of A Creek. As they loop around, deep notes play in the background, almost as if dropping little bombs. Another instrument joins the progression and I want to say it is a trumpet but do not quote me on that. I'm familiar with most of the basic high school band type of instruments, but artist these days just use them in ways that my high school music teacher might not even be able to identify them. And now I'm not sure about my trumpet theory, as we drift into another sort of snake charmer meets Prince Ali Baba type of vibe. This all takes a shift into dark strings and the sounds of waves crashing so now I definitely do feel as if we are a large ship lost at sea. Sad strings come into the background and we are mourning the loss as the ship is probably going down. No time to feel too sad though, as the acoustic guitar pattern from the beginning comes right back and reminds us there is work to be done. "Ravenhand" ends with an overall sound of destruction, of despair as there are dark notes and everything just seems to be taking a turn for the worse in this mood. Luckily, the next song seems to be picking up the rhythm a little bit and isn't as sad right off. It's got these ringing tones in the background of it with waves and beach beats at the helm. An ambient glow comes out next and this is somewhere between any number of things I can refer to as simply being "ambient" and Aloha. That X-Files sound returns in the tones, and yet the haunted waves continue to crash through the background. As we near the end of the track, everything begins to crash together and then the synth strings come through to add a level of sadness once again, only this time I feel like the music also is expressing some form of regret, which is weird because I've never heard regret come out in (instrumental) music before now. The fifth song is called "Cosmos" and that is a show my wife wants to watch. The tones coming through in patterns here almost remind me of a carnival ride, the carousel perhaps, but they also have an 8bit sound to them so I do want to take them all the way back to the classic NES game "Carnival", which I just loved so much. (And, yes, there are websites I have found where you can play it for free) Steel drum banging accompanies this now and for some reason I feel like we're in the jungle with John Rambo. Synth strings come through in small waves during the drumming, which can also sound a bit like bucket drumming to me, and as the carnival sound has faded I'm not sure where exactly this puts us. Keys come in next and they have a distinct feel to them, almost 8bit in some ways, but I can't quite put my finger on them. This still though, as seems to be the theme of the album, maintains its alien feel. A distorted static sound seems to fill the speakers next, taking over the track as only some of those bass strings are left in the background. Piano key type of electronic notes come through in slow progressions and I find the whole thing to be rather uplifting. We then return to the tone loops from earlier in the track, which seems only fitting somehow. It maintains that cross between The X-Files and something alien. It takes us through the static one more time and then fades out on the tone loops. The last song is called "At the End Of The World" and it only seems fitting to go out that way. It begins with the quieter drone of ambience. It's peaceful, calm, and then the drum beats come in once again, not quite the same as before but still they have a certain rhythm to them. It is refreshing to feel this ambient/drone sound mixed with the beats as the two somewhat opposite styles do not seem to clash. The sound coming through now could be a saxophone but it could also simply go back to that earlier instrument I couldn't place but thought was possibly a clarinet. I am pretty sure that I do hear some flute in here as well and as this remains peaceful, even with the "Lion King" type of drumming, I feel like it just projects an overall feeling of happiness. Not the doom and gloom I would expect from the end of the world, but rather more of an acceptance of one's fate I suppose. Electric guitar notes slide in with distortion as do the sound of something like a water stick that reminds me of Kung Fu Panda. If nothing else, this sound should remind you of your happy place, whatever that might be. So for all of the rides that "Secrets of the Moon" takes you on- from scaring you without being scary, making you a believer and leaving you on a high note- this doesn't digest like an album in the traditional sense of it being a collection of six songs but rather each song tends to feel like an album within itself. That is to say if you were to think of this as a soundtrack, which I like to do, then this wouldn't simply accompany one film but rather a series of six. The fact that there is just so much happening within these epics of songs just goes to show you that you need to listen to them that many more times to truly understand and appreciate them. While I primarily review cassettes (no secret there), Fallen has provided one of the best releases I have heard of 2015 thus far- and in quite some time- and it's not even on cassette so that's really saying a lot.

Rockerilla Magazine, May 2015, review by Raffaello Russo. He has changed skin and monicker, but not the spontaneous essence in his new adventure, setting aside The Child of A Creek’s visionary folk for a while, to explore (under the alias of Fallen), intangible sonic territories. The six instrumental tracks of "Secrets of the Moon" have the same instinctual charge and the same instinctual "alien” characters inherent to the records the Tuscan artist has released up to now. With great attention to details (percussion, oboe, piano, even the Indian santoor), Bracaloni enriches the alloy with sparse piano notes and alienating synthetic waves, transcending by far the idea of ambient music, in a heady journey to the end of a cosmic night.

BleachSlotBlogspot (UK), May 2015. With a mystical slant to it, Fallen’s “Secrets of the Moon” is a gentle wash of synthesizers. Rhythms are kept simplistic in nature to give off an electronic tribal feel. Melodies are found with the broad sweeps. Elegant and elongated, the pieces sprawl out and engage in hypnotic repletion. By taking this particular tact, the music is able to gain power through its economical usage of sound. Tiny flourishes are scattered throughout the pieces popping up like buds in early spring bloom. Little accents like these give the album an overall sense of completeness. The title track “Secrets of the Moon” opens the album off with a cosmic churn. From there the glistening tones of the track interact nicely with the industrial hum. For “Golden Dust (The Vanishing)” Fallen strips the sound down even further. Percussion is skeletal as it plods forward. Elements are reminiscent of early 90s ambient. Nearly classical in tone is the meticulously crafted work of “Ravenhand”. As the piece evolves the patterns grow ever more intricate. Eventually Fallen pulls away from all this to reveal a rock-focused finale. “Of Dreams (And Wounds)” has an otherworldly charm to it as if it is the soundtrack to an in-between dimension. For “Cosmos” Fallen recalls the early days of Autechre’s more emotional work and is the highlight of the album. Closing off the album on a gentle note is the aptly named “At the End of the World”. “Secrets of the Moon” is an enchanting album full of shrouded secrets.

Blow Up Magazine, May 2015, review by Gino Dal Soler. SCORE: 7. Fallen is a new project of Lorenzo Bracaloni aka The Child of A Creek. If I hadn't told you anything about him, I could say he could have been anyone else armed with synthesizers, piano, oboe, santoor, processed electric guitars and percussions. In fact, we feel and hear well the distinctive often elegiac touch of the artist along the six long tracks here. This is a tribute to the cosmic Germans he grew up with. We hear the Ash Ra Tempel of medium term ogling in the expanse calm of "Cosmos" and "At the End of the World", while the Tangerine Dream of "Phaedra" and "Stratosfear" make their influence felt and heard in the more sideral and spacey "Secrets of the Moon," lightly rippled by percussions. "Golden Dust (The Vanishing)" and "Ravenhand" instead, play more with the minimalist repetition, but a clear cinematic tension is felt during the listening of the whole album, which could work well as a soundtrack of our life. Sure, The Child of A Creek’s particular singing vibrato (as his signature style) is missed here, but this is an another story.

ShiverWebzine, April 2015, review di Max Sannella. A rebound without gravity, a yo yo in slow motion. This is the cosmique thing that thickens limply “Secrets of the Moon”, the new "alchemy" by Lorenzo Bracaloni/The Child of A Creek, under a new monicker here: Fallen. Six instrumental processed tracks, timeless, spacey, leaving places non-places behind, vibrating sensations in balance between new age guidelines close to Stomu Yamashta (listen to songs like "Secrets of the Moon" and "Ravenhand") and echoes of the synthetic Klaus Schultze (hear "Cosmos"), close to Zawinul and between Michael Shrieve and Jarre’s beats in a song like "Golden Dust (The Vanishing). Practically, a "sound capsule" which is a trip and metaphysics in a single solution. Songs to listen with headphones loudly, to dip ourselves completely in this sonic mirage that -ultimately- is an extraordinary outward expansion sticking into listener’s interiority, a layer or better, more emotional layers soaring liquid and gaseous between stereo and imagination, as long as we can dissolve ourselves inside it, going to be a part of that infinite which “Secrets of the album” (as an album) embodies. Then, feeling us to float through "Of Dreams (And Wounds)"’s amniotic liquid or seeing wings sprout and fly through "At the end of the World"’s blameless developments is always something that gives a sense of vertical freedom. Fallenauts.. get on board, we’re taking off!

CrampiWordPress, April 2015, review by Marcello Berich (ex Losing Today mag). The Child of A Creek is back, or better, here comes FALLEN. The choice to use a different name/monicker is dictated by the need to differentiate this new musical path from the previous one, maybe to open a new chapter in his musical biography. A new phase, although not completely detached from the albums previously released: as in the recent "Hidden Tales and Other Lullabies" (released on November 2014 by the danish label Metaphysical Circuits), the new record “Secrets of the Moon” contains six long entirely instrumental compositions suggestively dreamlike and full of atmospheres. Talking about author’s intentions, this work has its roots in the memories of a past more or less distant, with a mixture of regret, sadness and nostalgia. We find the reference point in the long tradition of experimental electronic music, in the ambient and in the minimalism field and approach: think to Tangerine Dream, Brian Eno, Klaus Schulze, but going ahead in listening to the record, you’ll find gothic atmospheres able to recall Dead Can Dance (and others) with the addition of some industrial taste. You’ll hear instruments like oboes and piano alonside the electronic instrumentation, this to create contemporary colored classic shades, in a complete set with minimal strings arrangements and tribal accents. The outcome is usual for these kind of releases: "Secrets of the Moon" leaves soon any moorings behind and the anchoring to author’s “lived” intentions, to let itself float in the imagination of the listener, ready to receive impressions and the sense that sounds let arise in everyone.

InYourEyes, April 2015, review by Stefano Cavanna. SCORE: 8,5. On November last year I had the opportunity to talk about an interesting solo project called The Child Of A Creek, a musical creature by Lorenzo Bracaloni, examining 2 new records: the first, "Quiet Swamps", was going to sound close to neo folk territories in a very personal way, while the second, "Hidden Tales And Other Lullabies", has presented us the author with an handful of ambient melodic songs. FALLEN, the new Lorenzo’s musical path, begins where “Hidden Tales..” ends, with the new record called ”Secrets Of The Moon”, giving to listeners a work capable of skillfully sounds brought to the fore by the florid Teutonic scene in the 70s (speaking about Klaus Schulze, Tangerine Dream and Popol Vuh, among others). We have to say the ambient form here is pretty distant from the more minimal and convoluted expressions that the genre in question has often offered to the audience in the past. Each song here has a melodic structure and by its nature it tends to the repetition, but always revealing itself as pleasant and enveloping and therefore, completely equipped with a range of music apart from the possible use of visual aids. Although it gets close to 60mins as total running time, “Secrets Of The Moon” never shows the rope and outlaws any form of boredom, even if it is assumed that those who are not accustomed to this kind of sound may not be in agreement with my statement. We should occasionally try to stop our mad ordinary rush, closing our eyes to get carried away by clear and ethereal notes, able to have easy access to the most hidden part of our spirit, giving us the opportunity to recover that sensitivity of small fine details and by all that sounds trivial and obvious around us every day, in despite of its objective beauty. A soft power base that stretches over a suffused percussive carpet: this is roughly what we can expect from the batch of songs included in this magnificent album. “Golden Dust” and “Ravenhand” will amaze you with their sheer beauty, “Cosmos” which from the title it shows how the author is a devoted one and a lover of the Kosmische Musik (feel like this definition in native language sounds more solemn than the horrendous "krautrock" ...) of which the artists just mentioned above were the tutelary deities, and “At The End Of The World” closes the job as he had started with the title track, leaving a legacy just like positive vibrations. Moreover, the inevitable game of references led me to rediscover records I had bought when I was much younger, in particular "Cluster & Eno", the first gift by British genius and the duo formed by German musicians Dieter Moebius and Hans-Joachim Roedelius, confirming what this first record under a new monicker (FALLEN) possesses also a "miraculous" discreet: a good reason to be lulled by the notes of “Secrets Of The Moon”.

IndiePerCui, April 2015, review by Marco Zordan. He’s back again creating timeless soundtracks, adding a new enigmatic name/monicker (FALLEN) to define better his proposal, here suspended between flavors coming from Albion’s land and full of cosmic sounds worthy of any movie era (never tiring), but which becomes the essence and the background of our interstellar travel. An ethereal flavor that hits for freshness close to Eno’s approach and sounds perfectly able to give a sense, to give a color to the space it preserves, like a message to be launched into the orbit, through a total darkness and melanchonic sounds here relegated to a nothing which moves forward and grip without outline, but giving a total sense only listening to the album in its completeness. We don’t know anything about the secrets of the moon and perhaps we’ll never know anything about that, but this record is the medium that allows us to admire the beauty of this unknown, engaging, irreverent and splendid satellite in his infinite greatness. The moon is a natural art masterpiece which has inspired and which it keeps inspiring poets, writers and musicians like a indissoluble piece tied up to what we really are. The journey begins and we feel like at home among splendid evocations, until the end of the world as a starting point for us to see everything in a different way, with its Zimmer-like orchestrations and with a savoir faire of a musician of excellence.

Audiofollia, March 2015, review by Francesco Lenzi. The prolific tuscan musician known with the monicker The Child of a Creek is back with an album out April 17, but with some substantial differences this time. First, the name has changed (which, for the occasion, becomes Fallen) and also the musical direction: not to say that ambient music was exempt from his previous work (remember the instrumental "Hidden Tales and Other Lullabies" I reviewed months ago?), but this time this record is definitely "declared" as an ambient record and this fact is more in evidence than in his prev works. This new record called "Secrets of the moon" is a beautiful and interesting album, which adds something special to Lorenzo’s music; 6 instrumental tracks widely evocative, a real inner journey in which Lorenzo takes care of everything, alternating to various instruments (synths and all sorts of keyboard, but also guitars, oboe, percussions). The title track opens the album as a long night journey mysteriously dreamy, perfect for a soundtrack, a trip full of inner light and shadow perpetually poised by a fascinating mood. Then, the mysterious gait of "Golden Dust (The Vanishing)", always very relaxing and enjoyable, with its particular introspective and dark appeal as typical for Fallen/The Child of a Creek. Maybe "Ravenhand" is my favorite track (although it's hard to choose one: the whole cd is valid!) and the mood is dark, with its melanchonic arpeggios in minor and with various layers in the background, it reminds me the best things coming from the 70s German scene like Popol Vuh, Ash Ra Tempel, but also some Burzum’s ambient stuff, for its "enigmatic feel" translated into sound. "Of Dreams and Wounds" is even more meditative and introspective, subtly psychedelic at times, full of cosmic spleen. "Cosmos" is the longest track of the album, a kind of wraparound progressive ambient which fascinates: the alternating of sliding and enigmatic dynamics is again successful and interesting, halfway between melodies full of relaxation and darkest moments (but no less enjoyable). "At the End of the World" is the final track, widely bright and relaxing: this song generates positivity to the listener, thanks to the enveloping keyboards that sound catchy and melodic, but there are also evocative guitar parts and while the listening goes on, it seems to travel far away to discover wonderful worlds. “Secrets of the Moon” is a very nice album, full of different shades, that reveals more new and unknown future developments. This album surprises definitely and it binds the listener to the stereo speakers: you’ll be catapulted into a magical world difficult to detach from once the "Play" button is pressed. Try to believe.