Known on both sides of the Atlantic for his baroque, poetic approach to songwriting, Fortunato Durutti Marinetti returns with Bitter Sweet, Sweet Bitter—his most sweeping, absurd, and emotionally acute statement to date. Calling it Poetic Jazz Rock—at once a private joke and an honest descriptor—the Toronto-via-Turin cantautore (Italian for singer-songwriter) delivers an album of maximalist grace, gilded sorrow, and lyrical intensity.

The title, Bitter Sweet, Sweet Bitter, nods to Anne Carson’s Eros: The Bittersweet, a book that launches a thousand ideas into the air: the impossibility of translation, the contradictions at the heart of desire, and the fluid spectrum between seeming opposites. That duality animates this album—from its two-headed dog cover art to its songs that twirl between beauty and grotesquerie, euphoria and dread.

While his previous album, Eight Waves In Search Of An Ocean, sought sonic hybridity, Bitter Sweet, Sweet Bitter marks Marinetti’s dive into excess. Written with the intent to push his songwriting to absurdist extremes, the album features long, chorus-less compositions swirling in 6/8 time, packed with words, brass, and string flourishes. Recorded live with a nimble six-piece band in a cramped Toronto attic studio, the record captures raw performances—often tracked in first or second takes—and overlays them with meticulous arrangements.

Inspired by the iconoclasts—Annette Peacock, Rickie Lee Jones, Donald Byrd, Brigitte Fontaine, Fabrizio De André—Marinetti follows his craft wherever it leads. There are echoes of Destroyer and Tindersticks here, but also something singularly his: Maximally Graceful Funky Eloquence, as he puts it.

The songs on Bitter Sweet, Sweet Bitter grapple with empathy, ego, surveillance, spiritual exhaustion, and love in its various shades of delusion. Lead single “Full of Fire” opens the album with an explosive ode to romantic recklessness in the tradition of Thelma & Louise. Elsewhere, “Beware” offers bitter advice for bitter times, “Call Me the Author” references Joan Didion by way of Brigitte Fontaine, and “My Funeral” imagines a self-delivered eulogy set to sombre jazz-noir. The instrumental themes (“Theme I” and “Theme II”) give the band room to stretch, underscoring the record’s musical vitality.

The album features contributions from a revolving cast of heavy-hitters, including New Chance (co-vocals on “Beware”) and Jay Arner (clavinet on “Beware”), who also mixed the entire record. A longtime friend and collaborator of Colussi’s, Arner (of Energy Slime, also on We Are Time) brings a deep familiarity to this fourth recorded collaboration, giving Bitter Sweet, Sweet Bitter its surreal, shimmering final polish.

Credits
releases July 25, 2025

Recorded, produced and mixed at Dining Room Sound, Toronto

Louie Short — Recording & Mixing (A Perfect Pair)
Jay Arner — Mixing & Post-Production
Heather Kirby at Dreamland — Mastering

Daniel Colussi, Vocals & Guitar
Victoria Cheong, Vocals (Beware)
Brandon Gibson De Groote, Violins, Viola & String Arrangements
Alex Fournier, Bass
Alex Hamlyn, Saxophone
Stefan Hegerat, Drums
Blake Howard, Percussion
John Jowett , Euphonium & Trombone
Tara Kannangara, Trumpet
Eliza Niemi, Cello (Do You Ever Think?)
Luan Phung, Lead Guitar
Chris Pruden, Piano, Synth, Rhodes
Maddee Ritter, Vocals (A Perfect Pair)
Jay Arner, Clarinet (Beware)

License
c + p Quindi Records 2025
Co-released with Canadian label WE ARE TIME
all rights reserved