Albert Eno Finds Beauty in the Relationships That Never Quite Leave Us on New Album “II”

Italian singer-songwriter Albert Eno has released his sophomore solo album, II, a ten-track collection exploring love, distance, memory, and the complicated relationships that stay with us long after they've changed. Released through Filibusta Records and Romolo Dischi, the project brings together dreamy folk-rock, atmospheric guitars, and intimate songwriting, offering a thoughtful look at the emotional connections we carry through life.

Formerly the frontman of alternative rock band Kismet, Albert Eno has spent years developing his musical identity, sharing stages with artists including Charlie Winston, Noah Gundersen, and Stu Larsen. On II, that experience translates into a more reflective approach, where the quieter moments often carry the greatest emotional weight.

The album's title represents two parallel lines, moving in the same direction without ever meeting. This concept gives the record its emotional foundation, especially in its exploration of relationships that remain meaningful despite separation.

The opening track, “Reflection,” establishes an introspective atmosphere, while “Hold Me” and “To Her Hometown” continue exploring intimacy and longing. “Empty Lung Apnea,” featuring Crivez, introduces another collaborative dimension, followed by “Song to You” and “Forgotten,” which deepen the album's focus on memory and connection.

Later tracks include “Stay,” featuring Frida Bollani Magoni, and “The Girl on the Terrace,” before “Be Your World” and the Martlene-assisted “Lullaby” bring the record to its conclusion.

What stands out about II is its ability to approach familiar emotions without making them feel overly sentimental. Albert Eno understands that relationships rarely fit into simple beginnings and endings, and his songwriting leaves room for everything that exists in between.

With II, Albert Eno delivers a personal, atmospheric record that reminds us some connections don't need to last forever to leave a lasting impression.

Your album II is built around the image of two parallel lines moving in the same direction but never meeting. What inspired that concept, and how does it reflect your own experiences with relationships and distance?

I was drawn to the idea of two lines that run alongside each other, always close but never touching. There is something beautiful and a little sad about that image. It made me think about how two people can be part of each other's lives and still remain, in some ways, strangers.

I think distance isn't always about being far away from someone. Sometimes it's there even when you're standing right next to them. There are things we feel but can't explain, things we want to say but somehow never do.

That space between two people became the starting point for II. I wasn't trying to tell a single story or describe one particular relationship. I wanted to explore that feeling of being connected to someone while knowing there's a part of them you may never fully reach.

Having previously fronted Kismet, how has your approach to songwriting changed as a solo artist, particularly when it comes to exploring more personal and vulnerable subjects?

Kismet was a big part of my life. I started that journey with my brother, and we spent years writing, recording, and playing together. Being in a band means sharing ideas and finding something that belongs to everyone.

Going solo has given me a different kind of freedom. I can follow an idea wherever it takes me, even when I don't know exactly what I'm trying to say. I don't always write about things I've figured out. Sometimes I write because I'm still trying to understand them.

I think that's where the vulnerability comes from. I'm not particularly interested in pretending to have the answers. I'd rather leave a question open than write something that sounds right but doesn't feel true to me.

The album blends intimate folk-rock songwriting with atmospheric guitars and dreamy production. How did you approach creating that sound, and what influenced the musical direction of II?

For me, everything starts with the song and the feeling I want it to carry. I usually begin with a voice and a guitar, and then I try to understand what else the song needs — and what it doesn't.

I love the intimacy of an acoustic guitar, but I'm also drawn to the sounds you can create with electric guitars, especially when they become more like textures than traditional riffs. They can change the way you feel a song without necessarily drawing attention to themselves.

Artists like Bon Iver, Damien Rice, Ben Howard, and Radiohead have influenced me in different ways, particularly in how music can create an atmosphere without losing its emotional core.

Vocally, I like the contrast between something fragile and something more raw. I don't want everything to sound beautiful in the conventional sense. Sometimes a rough edge says more than a perfect take.

With II, I wanted the music to feel intimate, but never completely settled — as if there were always something just beneath the surface.

“Stay” features Frida Bollani Magoni, while “Empty Lung Apnea” and “Lullaby” introduce other collaborations. What did these artists bring to the project, and how did their contributions shape the finished songs?

Each collaboration brought something different to the album, and I think that's what makes them special. Frida Bollani Magoni joined me on Stay, playing piano and singing with me. The song is very intimate, and having her voice there created a dialogue that I couldn't have achieved on my own. It felt natural to let another voice become part of the story.

On Empty Lung Apnea, my brother Alessandro, who performs as Crivez, contributed guitars, while Marco Dainese played viola. Their parts helped shape the atmosphere of the song. I wanted it to feel suspended in time, like holding your breath for a moment rather than falling into something.

Martlene joined me on Lullaby, bringing another voice into the song and adding to its intimate character. I've known my brother and worked with him for most of my musical life, so there's a particular understanding between us. But every collaboration is different. I like the moment when someone brings an idea into a song, and it becomes something you couldn't have imagined by yourself.

Much of II explores relationships that continue to influence us even after they've changed or ended. What has creating this album taught you about connection, and what do you hope listeners take away from these stories?

I don't know if making an album can teach you how relationships work. If anything, writing these songs has made me realize how little we can control when it comes to other people.

Someone can leave your life and still be part of you. You can move on and still carry things you don't fully understand. I think that's just part of being human.

I didn't want to write songs that explain these feelings or tell people what they should learn from them. I wanted to be honest about the questions, the contradictions, and the things that don't always have a clear ending.

If someone hears a song on II and recognizes something of their own life in it, that's enough for me. Maybe they'll think of someone they miss, something they never said, or a moment they still carry with them.

We spend so much time trying to find the right words to reach each other. Sometimes music can get a little closer. And sometimes, even if two people never quite meet, something of one remains in the other.