Dafne, modern Faithfull in the shadows of her room


First album with original songs in English of the singer-songwriter from Bergamo, worthy heir of the most crepuscular Marianne Faithfull and Patti Smith.


An Italian disc to be proud of .



It’s been a long time that I do not buy music magazines at a newsstand , so I might be out of date : I really don’t  know if between the latest album reviews there are still those " Indian reservations " entitled as  “Made in Italy”, or something else, designed to reserve a space to the Italian artist’s albums, otherwise always children of a lesser god than the big thing around the world.


I admit I had been an excellent victim of this xenophilia for years, but now I wonder why? The articles that we published recently about Italian indie artists testify that they are no less original than what we listen from the capitals of the Empire of Sound.


Just look at “ The Rest of Me”, latest album of Dafne, voice heir of the most  crepuscular Patti Smith and PJ Harvey; after her debut album (Some Tales - 2012) – which contains some valuable acoustic cover of Velvet, Bowie, Waits, Cave, Johnson, Echo and the Bunnymen, but also of the latest Vedder, Cousteau, Radiohead and Muse - the lonesome ex lawyer from  Bergamo goes still further, by signing her own compositions.


Ok, the above tutelary deities define very well the "perfumed garden" sound of Dafne, but to deal with so and so many references it takes class and her - as they say - is not water. So we dare a provocation: have you heard the latest album of  Marianne Faithfull, “Give My Love To London”?

A very enjoyable album, quite up to "her satanic majesty", of course. But,  just to put it together, the 68-year old ex Miss Jagger was able to gather around herself writers like Nick Cave lui même, Leonard Cohen, Roger Waters, Steve Earle and a talented "goddaughter" as Anna Calvi; making then play Adrian Utley (Portishead), Rob Ellis (PJ Harvey), Warren Ellis and Jim Sclavunos (Bad Seeds), Ed Harcourt and the same Calvi, until guru sound like Brian Eno and Flood. Not to take away anything to the charming Marianne, of which I’m a truly fan for many years, but with these knights at her own table, how could come out a bad disc ?


However, Dafne did everything alone, supported only by the less noble Paolo Filippi (guitar and dobro), Paolo Legramandi (bass), Diego Zanoli (accordion), Sergio Pescara (drums ), Antonio Leofreddi (viola), Cisco Portone (percussions), Yuri Goloubev and Massimo Moriconi (double bass); they all come from different back ground - rock, folk, jazz and classical -  but they surround the piano, the Guitalele (ukulele 6 string ) and the percussion played by the singer-songwriter, joining her misty atmospheres like a real band of Tom Waits in the days of Rain Dogs.


So, even without splurge cult stars, curled up in her bedroom (from which we imagine should come tapestry that is the background to the booklet with her suffering texts ) and hugged to her doll ( Me and my doll ), Dafne doesn’t  make us miss nothing, even evoking the elite of the above heroines of the dark: Patti, Marianne, a Polly unplugged, a bit of Tori Amos (the piano on“Hanging”) and maybe a bit of Anna Calvi (not screaming). But don’t  be mislead by all these comparisons, which are the usual way of salvation of the reviewer: Dafne has an authentic and personal true talent .


An Italian disc to be proud of; we hope that she can find the way to a deserved recognition even outside the national borders, which has the right to aspire to, not only thanks to the English sung and noble references .



Posthuman.it – Aprile 2015

Mario Gazzola





di Andrea Trevaini




It’s easy to fall in love with such a disc; even the cover tones,  which have a vaguely dreamlike quality, intrigues; then, if you take a look at the song list, it’s impossible not to be impressed by the courage of this girl. It’s true: there are only covers, but this song list gives you the chills!


The lighting is, however, when you listen to Daphne, with her voice slightly, but at the same time dark, or hoarse when needed, not sensual but hot or icy, depending on what she’s singing.


She’s really good! To confront herself with Brian Eno, David Bowie, Lou Reed, Tom Waits, Nick Cave, Eddie Vedder, Thom Yorke, Robert Johnson, is not for everyone.

Well, Daphne comes out from these comparisons with her head held high, thanks to its class, but also to an accurate production ( Paolo Filippi ) and to the great musicians who enhance her talent.



(Buscadero, November 2012)


DAFNE “Some Tales”


PLAY MUSIC – october/november 2012 -

by Marco Grompi



Dafne is a singer from Bergamo making her debut with a collection of great covers, selected on the basis of an emotional participation able to highlight the excellent acting skills, and supported by the elegant acoustic dresses prepared for the occasion by the producer and guitarist Paolo Filippi.


The repertoire carefully avoids the clichés (only, however valuable, re-readings of Venus in Furs by Velvet Underground and Karma Police by Radiohead could appear a little bit 'predictable choices) and it’s faced with a beautiful and intense interpretation,  undressing some gems of the less frequented songbook by David Bowie (Slow Burn), Tom Waits (Dead and Lovely), Brian Eno (By This River) and other (Echo & the Bunnymen, Robert Johnson) and infusing to them her mittle- curopean flavours (amazing “Uno” by Muse) or genuinely jazzy ( the very dark Spell by Nick Cave here caressed by the piano of  Francesco Chebat and the sax of Tino Tracanna).

Dafne shows remarkable expressive qualities,  for the extent to which she’s able to balance her voice in a very interesting and peculiar way (notable  the well done piano-played “Your Day Will Come” by Cousteau  and “Society” by  Eddie Vedder, with the percussions of Israel Varela) and she increases the curiosity to listen her again, struggling with some original songs, maybe even penned by herself.


copywrite by Dafne Franzoni 2015