Giotopia is a project born from the mind of Giovanni “Gio” Smet, a Belgian musician who in 2018 debuted with A FANTASY TALE ON MUSIC – PART I, where he got a squad that combined established talents such as Fabio Lione and Ralf Scheepers alongside new talents such as Italian Carmen Grandi and Sara Vanderheyden.
Immediately the following year he presented his second part: A FANTASY TALE ON MUSIC – PART II (2019) and in mid-April he presented his third installment entitled: TRINITY OF EVIL (2021), an album with eleven pieces and almost an hour long. Like the rest of his work, this album was released independently with many guest musicians, highlighting the participation of the Swedish singer, Apollo Papathanasio.
Despite the enormous merit of releasing a third album in just five years, musically Giotopia maintains its austerity, that is, since that debut in 2018, Giovanni Smet’s songs have not increased their technical level, they do not stand out for being technically advantageous, even though their production is more than acceptable taking into account the conditions in which the songs are created.
The melodic line of the voice is very generic, especially taking into account that the bars are filled only with chords; there are no riffs to make the pieces stand out, no harmonized melodies or anything to hold the listener’s attention.
Suddenly you can hear some interesting sparks, like “Strike While the Iron Is Hot”, however, it keeps limping from the same thing: there are no riffs, everything is based on filling the bars with chords.
This is a real shame, because unlike other songs of the genre, if something stands out about Giotopia’s lyrics, it is their length; Gio does not skimp on the amount of stanzas (which is common taking into account that a story is told with characters) but sadly his way of expressing it on a musical level falls short.
It would be unfair to dismiss this work as bad, but neither can we allow ourselves to be blinded. Although it is a huge credit for Giovanni Smet to make a third album independently, it is necessary to point out that his musical resources are very limited, at least in Giotopia. TRINITY OF EVIL confirms that what was shown in the previous two albums was not a compositional search, but that this is the true level of Giotopia.