tag:blogger.com,1999:blog-58007747277942688362024-03-13T09:49:47.734-07:00Disco VolanteMaximum Volume Yields Maximum ResultsDisco Volantehttp://www.blogger.com/profile/17764443995165351390noreply@blogger.comBlogger434125tag:blogger.com,1999:blog-5800774727794268836.post-91603853411060091532020-12-30T06:49:00.001-08:002020-12-30T06:49:13.633-08:00Top 20 Albums 2020<p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-UI0MlLN2ZmQ/X-yS6ekdoII/AAAAAAAADXA/zamfBV7qkPYCXBN5mztZqMG0b8l5I1WBgCLcBGAsYHQ/s2048/top20albums2020.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="320" src="https://1.bp.blogspot.com/-UI0MlLN2ZmQ/X-yS6ekdoII/AAAAAAAADXA/zamfBV7qkPYCXBN5mztZqMG0b8l5I1WBgCLcBGAsYHQ/s320/top20albums2020.jpg" /></a></div><span style="font-family: courier;"><br /></span><p></p><p><span style="font-family: courier;">Our personal selection of the best 2020 albums, in alphabetical order: </span></p><p></p><ul style="text-align: left;"><li><span style="font-family: courier;">Acid Mammoth - Under Acid Hoof</span></li><li><span style="font-family: courier;">All Them Witches - Nothing as the Ideal</span></li><li><span style="font-family: courier;">Black Rainbows - Cosmic Ritual Supertrip</span></li><li><span style="font-family: courier;">Bologna Violenta - Bancarotta morale</span></li><li><span style="font-family: courier;">Brant Bjork - Brant Bjork</span></li><li><span style="font-family: courier;">Calibro 35 - Momentum</span></li><li><span style="font-family: courier;">Elder - Omens</span></li><li><span style="font-family: courier;">Fontaines D.C. - A Hero's Death</span></li><li><span style="font-family: courier;">Giöbia – Plasmatic Idol</span></li><li><span style="font-family: courier;">Hexvessel - Kindred</span></li><li><span style="font-family: courier;"><a href="https://discovolanteblog.blogspot.com/2020/11/idles-ultra-mono.html">Idles - Ultra Mono</a></span></li><li><span style="font-family: courier;">King Buffalo – Dead Star</span></li><li><span style="font-family: courier;">My Dying Bride - The Ghost Of Orion</span></li><li><span style="font-family: courier;">Myrkur – Folkesange</span></li><li><span style="font-family: courier;">Oranssi Pazuzu - Mestarin Kynsi</span></li><li><span style="font-family: courier;">Pallbearer - Forgotten Days</span></li><li><span style="font-family: courier;"><a href="https://discovolanteblog.blogspot.com/2020/10/paradise-lost-obsidian.html">Paradise Lost – Obsidian</a></span></li><li><span style="font-family: courier;">Protomartyr - Ultimate Success Today</span></li><li><span style="font-family: courier;">Shores of Null - Beyond The Shores (On Death And Dying)</span></li><li><span style="font-family: courier;">Sólstafir - Endless Twilight Of Codependent Love<br /><div style="text-align: right;">[E.R.+ R.T.]</div></span></li></ul><p></p>Disco Volantehttp://www.blogger.com/profile/17764443995165351390noreply@blogger.com0tag:blogger.com,1999:blog-5800774727794268836.post-45405781334853361042020-12-27T09:13:00.002-08:002020-12-27T09:13:54.388-08:00Top 5 Cover Artworks 2020<p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-kGskzSa8sUY/X-jApjPEjMI/AAAAAAAADWs/TXkT5WM-h2Q_eJpXiyuGQCY0muOlqciZACLcBGAsYHQ/s2048/top5cover2020.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="320" src="https://1.bp.blogspot.com/-kGskzSa8sUY/X-jApjPEjMI/AAAAAAAADWs/TXkT5WM-h2Q_eJpXiyuGQCY0muOlqciZACLcBGAsYHQ/s320/top5cover2020.jpg" /></a></div><span style="font-family: courier;"><br /></span><p></p><p><span style="font-family: courier;">Our personal selection of cover artworks of 2020 albums, in alphabetical order:</span></p><p><span style="font-family: courier;">• <b>Acid Mammoth – Under Acid Hoof</b> <i>(Album Art: Branca Studio)</i></span></p><p><span style="font-family: courier;">• <b>Big Scenic Nowhere – Vision Behind Horizo</b>n <i>(Artwork: Max Löffler)</i></span></p><p><span style="font-family: courier;">• <b>Fontaines D.C. – A Hero’s Death</b> <i>(Artwork: Charlie Drinkwater)</i></span></p><p><span style="font-family: courier;">• <b>Hexvessel – Kindred</b> <i>(Cover Artwork: Thomas Hooper & Richey Beckett; Layout: Mat McNerney)</i></span></p><p><span style="font-family: courier;">• <b>Ihsahn – Pharos</b> <i>(Illustrations: Chioreanu Costin; Design: Ritxi Ostáriz; Art Direction: Heidi S. Tveitan)</i></span></p><div><br /></div>Disco Volantehttp://www.blogger.com/profile/17764443995165351390noreply@blogger.com0tag:blogger.com,1999:blog-5800774727794268836.post-42326643298434607572020-12-10T10:30:00.002-08:002020-12-10T10:30:21.474-08:00Cynic - Focus<p></p><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-7bR9vrsxzxo/X9JorB2GU2I/AAAAAAAADWU/OcopNKeFIuo75GXwd5_JNWKUVrOEFjMhACLcBGAsYHQ/s2048/cynic_focus.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2047" data-original-width="2048" src="https://1.bp.blogspot.com/-7bR9vrsxzxo/X9JorB2GU2I/AAAAAAAADWU/OcopNKeFIuo75GXwd5_JNWKUVrOEFjMhACLcBGAsYHQ/s320/cynic_focus.jpg" width="320" /></a></div><span style="font-family: courier;"><br /></span></div><div style="text-align: center;"><span style="font-family: courier;"><b>Cynic - Focus</b></span></div><span style="font-family: courier;"><div style="text-align: center;"><b>(Roadrunner Records, 1993)</b></div></span><p></p><p></p><div style="text-align: justify;"><span style="font-family: courier;">In Florida, all'inizio degli anni '90, nel bel mezzo dell'esplosione del death metal, una band di ragazzini provò a scomporre il death metal e a ricostituirlo in un'entità liquida e mutevole. </span><span style="font-family: courier;">Chuck Schuldiner rimase affascinato da questi ragazzi e decise di coinvolgere due di loro nella costruzione di </span><i style="font-family: courier;">Human</i><span style="font-family: courier;">, capolavoro del progressive death metal. Poi, nel 1993, i Cynic pubblicarono il loro album d'esordio, un incredibile balzo in avanti per l'intera scena metal, ovviamente rimasto incompreso a quell'epoca. </span><i style="font-family: courier;">Focus</i><span style="font-family: courier;"> è un album progressive rock nella sua più genuina essenza. Oltre ogni convenzione, </span><i style="font-family: courier;">Focus</i><span style="font-family: courier;"> esplora dimensioni spirituali con originalità, sia dal punto di vista della musica sia dal punto di vista dei testi. La struttura delle canzoni è contorta e cerebrale, le melodie fluide e emozionanti, gli assoli incredibili, con il loro gusto jazz fusion. </span><span style="font-family: courier;">La musica frattale dei King Crimson è qui rinata in forma metal.</span></div><span style="font-family: courier;"><div style="text-align: right;">[R.T.]</div></span><p></p><p style="text-align: center;"><span style="font-family: courier;">***</span></p><p></p><div style="text-align: center;"><span style="font-family: courier;"><b>Cynic - Focus</b></span></div><span style="font-family: courier;"><div style="text-align: center;"><b>(Roadrunner Records, 1993)</b></div></span><p></p><p style="text-align: justify;"><span style="font-family: courier;">In Florida, at the beginning of the 90s, in the middle of death metal explosion, a teenage band tried to deconstruct death metal and to reform it in a liquid and changing entity. Chuck Schuldiner was fascinated by these guys, and he decided to involve two of them in the construction of <i>Human</i>, a masterpiece of progressive death metal. Then, in 1993, Cynic published their debut album, an incredible step forward for the entire metal scene, obviously misunderstood at that time. <i>Focus</i> is a progressive rock album, in its most genuine exence. Beyond every convention, <i>Focus</i> explores spiritual dimensions with originality, both in lyrical and in musical aspects. Songs structure is cerebral and twisted, melodies are fluid and emotional, and solos are amazing, with their jazz fusion taste. King Crimson’s fractal music was here reborn in a metal form. <br /></span></p><div style="text-align: right;"><span style="font-family: courier;">[R.T.]</span></div><p></p>Disco Volantehttp://www.blogger.com/profile/17764443995165351390noreply@blogger.com0tag:blogger.com,1999:blog-5800774727794268836.post-36707094309097851592020-11-15T07:52:00.000-08:002020-11-15T07:52:51.599-08:00 Esoteric – A Pyrrhic Existence<p style="text-align: justify;"></p><div style="text-align: center;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-du_jYrebI1w/X7FODwqVHeI/AAAAAAAADVo/HlILmxxwdjsls_VqiPPoas0GvEBKG_2LwCLcBGAsYHQ/s2048/apyrrhicexistence.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="320" src="https://1.bp.blogspot.com/-du_jYrebI1w/X7FODwqVHeI/AAAAAAAADVo/HlILmxxwdjsls_VqiPPoas0GvEBKG_2LwCLcBGAsYHQ/s320/apyrrhicexistence.jpg" /></a></div><br /></b></div><div style="text-align: center;"><b><span style="font-family: courier;">Esoteric – A Pyrrhic Existence</span></b></div><b><div style="text-align: center;"><b><span style="font-family: courier;">(Season of Mist, 2019) </span></b></div></b><p></p><p style="text-align: justify;"><span style="font-family: courier;"><i>“E ora affronterai il mare delle tenebre, e ciò che in esso vi è di esplorabile”.</i> Lucio Fulci ci intrappola nel suo <i>L'Aldilà</i> con queste parole e con l’immagine di un deserto sconfinato, avvolto nella nebbia, nel quale corpi umani giacciono come pietrificati. Un deserto gelido, del tutto simile a quello che gli Esoteric utilizzano per rappresentare visivamente la musica del loro ottavo disco. Ancorate a terra come se avessero radici, disperate nel tentativo di allontanarsi da quell'Inferno di immobilità, le figure scheletriche della copertina di <i>A Pyrrhic Existence</i> sembrano i corpi esanimi del film di Fulci, in un ultimo tentativo di tornare alla luce. Ma nella musica della band britannica la luce non filtra. I bagliori che intravediamo all’interno delle sei monolitiche composizioni sono aurore boreali di sintetizzatore. Lampi glaciali che accentuano le ombre. In una stasi che pare ineluttabile, la ricerca spasmodica di un senso - per quanto destinata a fallire - rende la musica viva, anche se sfibrante. Se il mare delle tenebre è esplorabile, lo è anche l’abisso degli Esoteric. Nonostante la psichedelia stordente della band sia utilizzata come un magnete per risucchiare ogni energia, i riff rabbiosi sono come passi che si sollevano pesanti dalle sabbie mobili, e la melodia compare a tracciare nuove strade nel vuoto cosmico. Anche con il loro disco più gelido gli Esoteric mostrano come sia possibile esplorare l’abisso, componendo l’ennesimo capolavoro.</span></p><p style="text-align: right;"><span style="font-family: courier;">[R.T.]</span></p><p style="text-align: center;"><span style="font-family: courier;">***</span></p><p style="text-align: justify;"></p><div style="text-align: center;"><span style="font-family: courier;"><b>Esoteric – A Pyrrhic Existence</b></span></div><span style="font-family: courier;"><div style="text-align: center;"><b>(Season of Mist, 2019) </b></div></span><p></p><p style="text-align: justify;"><span style="font-family: courier;"><i>"And now you will face the sea of darkness, and what is explorable in it"</i>. Lucio Fulci traps us in his <i>The </i>B<i>eyond</i> with these words and with the image of a boundless desert, shrouded in fog, in which human bodies lie as if petrified. An icy desert, similar to the one that Esoteric use to visually represent the music of their eighth album. Anchored to the ground as if they had roots, desperate to get away from that Hell of immobility, the skeletal figures on the front cover of <i>A Pyrrhic Existence</i> look like the lifeless bodies of Fulci's movie, in a last attempt to return to the light. But there is no light filtering through the British band's music. The glows that we see inside the six monolithic compositions are synthesizer aurora borealis. Glacial flashes that accentuate the shadows. In a stasis that seems unavoidable, the spasmodic search for meaning - though doomed - makes the music alive, even if exhausting. If the sea of darkness is explorable, so it is Esoteric's abyss. While the band's stunning psychedelia is used as a magnet to suck in all energy, the angry riffs are like footsteps heavily lifting from quicksand, and melody traces new paths in the cosmic void. Even with their coldest record Esoteric show how it is possible to explore the abyss, composing the umpteenth masterpiece.</span></p><p style="text-align: right;"><span style="font-family: courier;">[R.T.]</span></p>Disco Volantehttp://www.blogger.com/profile/17764443995165351390noreply@blogger.com0tag:blogger.com,1999:blog-5800774727794268836.post-66531971079191654562020-11-12T07:17:00.000-08:002020-11-12T07:17:22.094-08:00Idles – Ultra Mono<p style="text-align: justify;"></p><div style="text-align: center;"><span style="font-family: courier;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-PJR4NpZZA3Y/X61R1UzHWvI/AAAAAAAADVc/-MirvnopZVMeWgni-9d3MGNjeuLHyAz_ACLcBGAsYHQ/s2048/idles_ultra-mono_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="320" src="https://1.bp.blogspot.com/-PJR4NpZZA3Y/X61R1UzHWvI/AAAAAAAADVc/-MirvnopZVMeWgni-9d3MGNjeuLHyAz_ACLcBGAsYHQ/s320/idles_ultra-mono_.jpg" /></a></div><br /></b></span></div><div style="text-align: center;"><span style="font-family: courier;"><b>Idles – Ultra Mono</b></span></div><span style="font-family: courier;"><div style="text-align: center;"><b>(Partisan Records, 2020)</b></div></span><p></p><p style="text-align: justify;"><span style="font-family: courier;">La rabbia e il sarcasmo degli Idles sono ciò che ricorderemo di questo 2020 che va in pezzi. Con onestà e idealismo da vecchi punk, gli Idles cercano di scendere a patti con l’immagine che si sono costruiti. Ma prima di riuscirci, ci fanno a pugni e poi ci si ubriacano insieme, come veri hooligans. Cercando di liberarsi delle aspettative che se ne stanno appollaiate come una scimmia sulla loro spalla, scrivono un disco per loro stessi (e per chi vorrà unirsi a loro). <br />Un disco che è un richiamo ad uno spirito di comunità che sia in grado di generarsi spontaneamente. Una comunità tenuta insieme da una unità di idee, sia politiche che artistiche. Circondandosi di collaboratori illustri (David Yow, Colin Webster, Warren Ellis, Jamie Cullum, Jehnny Beth), gli Idles omaggiano i loro idoli e dando vita ad un gruppo di musicisti al quale il pubblico potrà decidere se aggregarsi, qualora ne condivida gli intenti. <i>“We are derivative […] We are naive. We are sloganeering”</i>. Prendere o lasciare.<br />Concentrandosi sulla semplicità del riff e sull’immediatezza melodica, <i>Ultra Mono</i> suona meno deflagrante di <i>Brutalism</i> (2017). Ma non perché manchi d’energia, bensì perché questa viene incanalata come il proiettile nella canna di un fucile, anziché essere sbriciolata in schegge da una bomba. Con le sue cavalcate sghembe e nere che sembrano suonate a dorso del ronzino che si trova sulla copertina dell’ultimo Protomartyr, <i>Ultra Mono</i> suona meno irriverente di <i>Joy as an act of resistance</i> (2018). Ma non perché la band inglese abbia perso il senso dell’ironia o il gusto per la dissacrazione punk: bensì perché ora, nel loro 2020, il sorriso sardonico è rivolto verso loro stessi. <br />Nel 2020 gli Idles sono diventati grandi. E combattono l’eterna battaglia per mantenere la loro innocenza. Se il fatto stesso di essere consapevoli di essere ad un bivio del loro percorso, e di dover cercare di non perdere la strada della loro spontaneità, è un ragionamento razionale che di per sé implica una perdita di genuina spontaneità, <i>Ultra Mono</i> sta lì a dimostrare che una band può aver raggiunto la maturità senza aver perso la scintilla del “qui e ora”. Ed è qui ed ora, in questo 2020 di crisi sociale, che si sta creando una nuova comunità di cui gli Idles sono parte integrante.</span></p><p style="text-align: right;"><span style="font-family: courier;">[R.T.]</span></p><p style="text-align: center;"><span style="font-family: courier;">***</span></p><p style="text-align: center;"><b><span style="font-family: courier;">Idles – Ultra Mono<br /></span><span style="font-family: courier;">(Partisan Records, 2020)</span></b></p><p style="text-align: justify;"><span style="font-family: courier;">Idles’ rage and sarcasm are what we are going to remember of this 2020 which is falling apart. With the honesty and idealism of old punks, Idles try to come to terms with the image they built themselves. But before they do it, they fight it and then get drunk together, like real hooligans. Trying to get rid of those expectations roosted like a monkey on their shoulder, they write an album for themselves (and whoever wants to join them). </span></p><p style="text-align: justify;"><span style="font-family: courier;">A record that is a call to a community spirit capable of generating itself spontaneously. A community held together by a unity of ideas, both political and artistic. Surrounding themselves with illustrious collaborators (David Yow, Colin Webster, Warren Ellis, Jamie Cullum, Jehnny Beth), Idles pay homage to their idols and give life to a group of musicians to which the public can decide whether to join or not, in case they share their intents. <i>“We are derivative […] We are naive. We are sloganeering"</i>. Take or leave.</span></p><p style="text-align: justify;"><span style="font-family: courier;">Focusing on simplicity of riff and melodic immediacy, <i>Ultra Mon</i>o sounds less explosive than <i>Brutalism</i> (2017). Yet not because it lacks energy, but because it is channeled like a bullet into the barrel of a gun, rather than being crumbled into splinters by a bomb. With its crooked black rides that seem to be played on the back of the nag on the front cover of the latest Protomartyr album, <i>Ultra Mono</i> sounds less irreverent than <i>Joy as an act of resistance</i> (2018). Yet not because the English band has lost the sense of irony or the taste for punk desecration: but because now, in their 2020, the sardonic smile is turned towards themselves. </span></p><p style="text-align: justify;"><span style="font-family: courier;">In 2020, Idles have grown up. And they fight the eternal battle to keep their innocence. If the awareness of being at a crossroads in their path, and of having to try not to lose the path of their spontaneity, is a rational reasoning that in itself implies a loss of genuine spontaneity, <i>Ultra Mono</i> is there to demonstrate that a band may have reached maturity without losing the spark of the "here and now". And it is here and now, in this 2020 of social crisis, that a new community is being created of which Idles are an integral part.</span></p><p style="text-align: right;"><span style="font-family: courier;">[R.T.]</span></p>Disco Volantehttp://www.blogger.com/profile/17764443995165351390noreply@blogger.com0tag:blogger.com,1999:blog-5800774727794268836.post-67780905635645520322020-10-13T09:09:00.000-07:002020-10-13T09:09:51.559-07:00Paradise Lost – Obsidian<p></p><div style="text-align: center;"><span style="font-family: courier;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-V68XgikUmu4/X4XRB5CPHDI/AAAAAAAADVE/yeCsgPL0I80ougp9OEo0BzXbEwyIogU1wCLcBGAsYHQ/s2048/paradise_lost_obsidian_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="320" src="https://1.bp.blogspot.com/-V68XgikUmu4/X4XRB5CPHDI/AAAAAAAADVE/yeCsgPL0I80ougp9OEo0BzXbEwyIogU1wCLcBGAsYHQ/s320/paradise_lost_obsidian_.jpg" /></a></div><b><br /></b></span></div><div style="text-align: center;"><span style="font-family: courier;"><b>Paradise Lost – Obsidian</b></span></div><span style="font-family: courier;"><div style="text-align: center;"><b>(Nuclear Blast, 2020)</b></div></span><p></p><p></p><div style="text-align: justify;"><span style="font-family: courier;">Ogni città ha una locanda sicura, aperta fino a notte fonda. Un rifugio sul quale possiamo contare nelle nottate in cui fuori infuria la tempesta. I Paradise Lost sono quel luogo, nell’universo dell’heavy metal. Quando all’esterno è rimasto silenzio e desolazione, e non riconosciamo più nostri simili, la band inglese ci mostra l’entrata attraverso un arpeggio dal sapore antico. In un attimo siamo in un altro mondo, in un’altra epoca. Una taverna di Winterfell, nell'estremo nord di Westeros. Al suo interno non la stanca rassegnazione di un luogo corroso dall’abitudine, bensì il calore appassionato di un covo di partigiani che progettano battaglie. Qui troviamo facce conosciute, vecchi amici che non si vogliono arrendere, e che mostrano un’energia inesauribile, frutto di una riuscita alchimia. Così, mentre una pandemia congela il mondo della musica, non solo annichilendo i concerti, ma inibendo anche la pubblicazione dei dischi (che in questa epoca digitale non portano nessun guadagno alle band se non sono accompagnati da un tour), i Paradise Lost vanno controtendenza senza paura e pubblicano uno dei loro dischi migliori. Proseguendo il percorso intrapreso con i due - straordinari - predecessori, la band inglese infonde energia ad uno stile musicale decadente e rassegnato per definizione, mostrando ancora una volta nuove strade. Unendo romanticismo darkwave e potenza heavy metal, grazie anche al presioso contributo del giovane batterista Waltteri Väyrynen, i Paradise Lost compongono il loro disco più epico e grandioso, senza mai perdere il focus introspettivo che li ha sempre caratterizzati. La luce della locanda è accesa, in mezzo alla tormenta. Sta a noi entrare e unirsi alla resistenza.</span></div><span style="font-family: courier;"><div style="text-align: right;">[R.T.]</div></span><p></p><p style="text-align: center;"><span style="font-family: courier;">*** </span></p><p></p><div style="text-align: center;"><span style="font-family: courier;"><b>Paradise Lost – Obsidian</b></span></div><span style="font-family: courier;"><div style="text-align: center;"><b>(Nuclear Blast, 2020)</b> </div></span><p></p><p></p><div style="text-align: justify;"><span style="font-family: courier;">Each town has a safe inn, open til late at the night. A shelter we can count on in those nights when outside </span><span style="font-family: courier;">the storm is raging. Paradise Lost is that place, in the universe of heavy metal. When outside there are only silence and desolation, and we no longer recognize our fellowmen, the English band shows us the entrance through an arpeggio with an ancient flavour. In a moment we are in another world, in another era. A tavern in Winterfell, in the far north of Westeros. Inside it there isn't the tired resignation of a place corroded by habit, yet the passionate warmth of a hideout of partisans planning battles. Here we find familiar faces, old friends who do not want to give up, and who show inexhaustible energy, result of successful alchemy. So, while a pandemic freezes the world of music, not only annihilating concerts, but also inhibiting the release of records (which, in this digital age, do not bring any profit to the bands if they don't go on tour), Paradise Lost go fearlessly against this trend and release one of their best records. Combining darkwave romanticism and heavy metal power, thanks also to the precious contribution of the young drummer Waltteri Väyrynen, Paradise Lost compose their most epic and grandiose album, without ever losing the introspective focus that has always characterized them. The inn's light is on, amidst the blizzard. It is up to us to come in and join the resistance.</span></div><span style="font-family: courier;"><div style="text-align: right;">[R.T.]</div></span><p></p>Disco Volantehttp://www.blogger.com/profile/17764443995165351390noreply@blogger.com0tag:blogger.com,1999:blog-5800774727794268836.post-69271766775740585892020-09-17T08:22:00.000-07:002020-09-17T08:22:34.313-07:00Calibro 35 - 01.08.2020 - Rocca Malatestiana (Cesena)<p style="text-align: center;"><span style="font-family: courier;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: courier;"><a href="https://1.bp.blogspot.com/-qcrf2XdE2k0/X2N9sAqSOrI/AAAAAAAADTw/CbGoElL99YgMGOOUWLKrWmrrA_N-CDNJwCLcBGAsYHQ/s2048/calibro35_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="320" src="https://1.bp.blogspot.com/-qcrf2XdE2k0/X2N9sAqSOrI/AAAAAAAADTw/CbGoElL99YgMGOOUWLKrWmrrA_N-CDNJwCLcBGAsYHQ/s320/calibro35_1.jpg" /></a> </span></div><p></p><p style="text-align: center;"><span style="font-family: courier;"><b>Calibro 35 - 01.08.2020 - Rocca Malatestiana (Cesena)</b></span></p><p style="text-align: justify;"><span style="font-family: courier;">Dopo tutti questi mesi ed ancora in mezzo a tante incertezze, il concerto dei <b>Calibro 35</b> di stasera ha tutte le carte in regola per essere definito un evento eccezionale. E come tale l'ho vissuto. Quasi fosse una prima volta in senso assoluto.</span></p><p style="text-align: justify;"><span style="font-family: courier;">L'organizzazione dell'evento è stata praticamente perfetta. E in un momento come questo, in cui c'è una certa tendenza al lassismo e opposte correnti tirano da una parte e dall'altra, vale la pena sottolinearlo.</span></p><p style="text-align: justify;"><span style="font-family: courier;">Tornare ad un concerto dal vivo dopo tutti questi mesi mi ha fatto davvero riassaporare la bellezza di quando, ragazzina, andavo per la prima volta nei locali o ai primi festival, ed ero elettrizzata dall'evento, dalla bellezza unica che solo la musica dal vivo è capace di sprigionare. Perché un concerto è qualcosa che va oltre la musica. E' quell'unicum che viene fuori dall'unione di musica, band, locale, persone, atmosfera, e molto altro ancora. Potrai sentire mille volte una stessa band dal vivo, ma non ascolterai mai lo stesso concerto. </span></p><p style="text-align: justify;"><span style="font-family: courier;">In effetti i Calibro 35 li ho già sentiti svariate volte. E se mai nessuna volta è stata uguale alla precedente, questo concerto è stato quasi come sentirli per la prima.</span></p><p style="text-align: justify;"><span style="font-family: courier;">Molti i pezzi dal nuovo <i>Momentum</i>, uscito ad inizio anno, quando ancora a malapena si parlava di pandemia. Se già il disco mi era piaciuto, dal vivo le nuove canzoni fanno sentire ancora più chiara la loro voce, rimarcando le nuove sfumature e la crescita della band milanese. Appunto di crescita ed evoluzione si tratta, e non di rottura. E lo si capisce bene guardando al quadro che compongono inserite nel resto della loro produzione, nell'alternanza fra le vecchie e le nuove tracce. Un tessuto coeso e ricco di sfaccettature. Una colonna sonora - addirittura un vero e proprio film - che tocca moltissimi temi ed emozioni, con grande ricchezza espressiva. Il set di stasera, la meravigliosa cornice della Rocca Malatestiana di Cesena, ha completato il quadro, rendendo davvero perfetto questo momento. </span></p><p style="text-align: justify;"><span style="font-family: courier;">Voglio tornare a vivere più spesso la musica dal vivo. Con nuove cornici e nuove modalità come stasera, magari. L'importante è che la musica continui a uscire dalle casse, giù dai palchi, davanti ad un pubblico di persone in carne e ossa.</span></p><p style="text-align: right;"><span style="font-family: courier;">[E.R.]</span></p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-4G-NCGPX7TQ/X2N98R0NgdI/AAAAAAAADT4/pYEa9ao1Du0PkO0x3MNnIyYUlNaPgHQ-gCLcBGAsYHQ/s726/calibro35_8.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="726" data-original-width="726" height="200" src="https://1.bp.blogspot.com/-4G-NCGPX7TQ/X2N98R0NgdI/AAAAAAAADT4/pYEa9ao1Du0PkO0x3MNnIyYUlNaPgHQ-gCLcBGAsYHQ/w200-h200/calibro35_8.jpeg" width="200" /></a><a href="https://1.bp.blogspot.com/-NxqcP8-QU4M/X2N-EVPBBrI/AAAAAAAADT8/-kOeN_rOZGQww2iv-iuUBZpYI0glBAoLwCLcBGAsYHQ/s2048/calibro35_2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1805" data-original-width="2048" height="176" src="https://1.bp.blogspot.com/-NxqcP8-QU4M/X2N-EVPBBrI/AAAAAAAADT8/-kOeN_rOZGQww2iv-iuUBZpYI0glBAoLwCLcBGAsYHQ/w200-h176/calibro35_2.jpg" width="200" /></a><br /></div><p></p><p style="text-align: center;"><span style="font-family: courier;">*** </span></p><p style="text-align: center;"><span style="font-family: courier;"><b>Calibro 35 - 08.01.2020 - Rocca Malatestiana (Cesena)</b></span></p><p style="text-align: justify;"><span style="font-family: courier;">After all these months and still in the midst of so many uncertainties, tonight's <b>Calibro 35</b> concert has what it takes to be defined as an exceptional event. And as such I lived it. As if it were a first time in an absolute sense.</span></p><p style="text-align: justify;"><span style="font-family: courier;">The organization of the event was practically perfect. And at a time like this, when there is a certain tendency to laxity and opposite currents pull from one side to the other, it is worth pointing it out.</span></p><p style="text-align: justify;"><span style="font-family: courier;">Returning to a live concert after all these months made me really savour the beauty of when, as a young girl, for the first time I went to clubs or festivals, and I was thrilled by the event, by the unique beauty that only live music is capable of unleashing. Because a concert is something that goes beyond music. It is that unicum that comes out of the union of music, band, club, people, atmosphere, and much more. You might listen to the same band live a thousand times, but you will never listen to the same concert.</span></p><p style="text-align: justify;"><span style="font-family: courier;">Many pieces from the brand new <i>Momentum</i>, released at the beginning of the year, when there was still hardly any talk of a pandemic. If I already liked the album, live the new songs make their voices even clearer, underlining the new nuances and the growth of the band. It is a matter of growth and evolution, and not of rupture. And it can be understood looking at the painting they make up inserted in the rest of their production, in the alternation between the old and the new tracks. A cohesive and multi-faceted fabric. A soundtrack - even a movie - that touches many themes and emotions, with great expressive richness. Tonight's set, the wonderful setting of Rocca Malatestiana in Cesena, completed the picture, making this moment truly perfect.</span></p><p style="text-align: justify;"><span style="font-family: courier;">I want to go back to concerts more often. With new settings and new modes like tonight, maybe. What matters is that music keeps going out of the speakers, down from the stages, in front of an audience of people in flesh and blood.</span></p><p style="text-align: right;"><span style="font-family: courier;">[E.R.]</span></p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-ACW1ZEkW4K4/X2N-nlkobZI/AAAAAAAADUI/QqUDbQZqock6t7kD86pGOaAzxv0PJdpYgCLcBGAsYHQ/s946/calibro35_5.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="946" data-original-width="946" height="200" src="https://1.bp.blogspot.com/-ACW1ZEkW4K4/X2N-nlkobZI/AAAAAAAADUI/QqUDbQZqock6t7kD86pGOaAzxv0PJdpYgCLcBGAsYHQ/w200-h200/calibro35_5.jpeg" width="200" /></a><a href="https://1.bp.blogspot.com/-4-Q7sqaEulo/X2N-1B9DNhI/AAAAAAAADUQ/osroptL-0v4duwcA59NVK2MFPPULD2ADQCLcBGAsYHQ/s2048/calibro35_3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1769" data-original-width="2048" height="173" src="https://1.bp.blogspot.com/-4-Q7sqaEulo/X2N-1B9DNhI/AAAAAAAADUQ/osroptL-0v4duwcA59NVK2MFPPULD2ADQCLcBGAsYHQ/w200-h173/calibro35_3.jpg" width="200" /></a><br /><br /></div><br /><span style="font-family: courier;"><br /></span><p></p>Disco Volantehttp://www.blogger.com/profile/17764443995165351390noreply@blogger.com0tag:blogger.com,1999:blog-5800774727794268836.post-42085389015446409602020-05-27T08:44:00.000-07:002020-05-27T08:44:07.584-07:00Caluvia - Insane<div style="text-align: center;"><font face="courier" size="2"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-7msXarcYZ00/Xs5l3Qlj0xI/AAAAAAAADRg/XrP0L_2n2hQt-XRG1JTKXyl54IaxvObOACK4BGAsYHg/caluvia.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1071" data-original-width="1200" src="https://1.bp.blogspot.com/-7msXarcYZ00/Xs5l3Qlj0xI/AAAAAAAADRg/XrP0L_2n2hQt-XRG1JTKXyl54IaxvObOACK4BGAsYHg/s320/caluvia.jpg" width="320" /></a></div><b><br /></b></font></div><div style="text-align: center;"><font face="courier" size="2"><b>Caluvia - Insane</b></font></div><div style="text-align: center;"><font face="courier" size="2"><b>(Taxi Driver, 2020)</b></font></div><div><font face="courier" size="2"><br /></font></div><div style="text-align: justify;"><font face="courier" size="2">C’è una strada nel cuore della Toscana che collega lo stoner rock dei Caluvia a quello dei Mr Bison. Una strada che attraversa le colline, per poi arrivare fino al mare. Se la musica dei Mr Bison risuona alla fine di quella strada, dove la sabbia si tuffa in acqua, quella dei Caluvia ha vita all’estremo opposto, immersa nell’entroterra. Ma il percorso è lo stesso. Un itinerario che, più che attraversare fisicamente i luoghi più caratteristici della Toscana, è un percorso mentale che incontra il groove dei Clutch, le sciamaniche meditazioni dei Kyuss e le ombre scure dei Soundgarden. Se i Mr Bison possiedono la fluidità del mare, i Caluvia sono una roccia che si sgretola in nubi di polvere. Robusti e compatti, ma mai rigidi, i Caluvia suonano uno stoner rock strabordante di energia, fatto di riff pesanti ma elastici, e di melodie sempre coinvolgenti, al quale manca solo qualche granello di sporcizia nell’esecuzione vocale. Uno stoner rock che si conferma pienamente a suo agio tra le strade della Toscana.</font></div><div style="text-align: right;"><font face="courier" size="2">[R.T.]</font></div><div><font face="courier" size="2"><br /></font></div><div style="text-align: center;"><font face="courier" size="2">***</font></div><div style="text-align: center;"><font face="courier" size="2"><br /></font></div><div style="text-align: center;"><font face="courier" size="2"><b>Caluvia - Insane</b></font></div><div style="text-align: center;"><font face="courier" size="2"><b>(Taxi Driver, 2020)</b></font></div><div><font face="courier" size="2"><br /></font></div><div style="text-align: justify;"><font face="courier" size="2">There is a road in the heart of Tuscany that connects Caluvia's stoner rock to Mr Bison's one. A road that crosses the hills and then reaches the sea. If Mr Bison's music resounds at the end of that road, where the sand plunges into the water, Caluvia's one lives on the opposite end, immersed in the hinterland. Yet the path is the same. An itinerary that, more than physically going through the most characteristic places of Tuscany, is a mental path that meets Clutch groove, Kyuss shamanic meditations and Soundgarden dark shadows. If Mr Bison got the fluidity of sea, Caluvia are a rock that crumbles into clouds of dust. Sturdy and compact, but never stiff, Caluvia play a stoner rock overflowing with energy, made of heavy but elastic riffs, and always involving melodies, which is only missing a few grains of dirt in the vocals. A stoner rock which fully confirms himself at ease on the streets of Tuscany.</font></div><div style="text-align: right;"><font face="courier" size="2">[R.T.]</font></div>Disco Volantehttp://www.blogger.com/profile/17764443995165351390noreply@blogger.com0tag:blogger.com,1999:blog-5800774727794268836.post-12448401847774114072020-05-22T08:13:00.002-07:002020-05-22T08:13:54.461-07:00Marnero – 22.02.2020 – Newroz (Pisa)<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-0ckbbn8av94/XsfsFdLYuYI/AAAAAAAADRI/VBBQQuvg4f0mVHC89o4V0E0n9MPmpoltACLcBGAsYHQ/s1600/marnero_20_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1600" height="320" src="https://1.bp.blogspot.com/-0ckbbn8av94/XsfsFdLYuYI/AAAAAAAADRI/VBBQQuvg4f0mVHC89o4V0E0n9MPmpoltACLcBGAsYHQ/s320/marnero_20_.jpg" width="320" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;">L’ultimo concerto. Siamo ad un passo dal naufragio ma non lo sappiamo ancora. Le prime avvisaglie di tempesta all’orizzonte non ci fermano. Amici, risate, abbracci, tutto scorre nella direzione della (contro)corrente, in uno dei luoghi simbolo della (contro)cultura cittadina. Sembra di essere tornati indietro di 20 anni, invece siamo sull’orlo del futuro. Da domani niente sarà più come prima. Siamo sempre stati parte della ciurma del disastro, ma da domani, portare il fuoco sotto il diluvio sarà un’impresa ancor più indispensabile. Perché ogni catastrofe genera nuovi egoismi, e squali pronti ad approfittarne. <i>“Malgrado tutto resistiamo in ogni città riconquistando il Tempo nel punto dove accadono le cose, non prima, non dopo. Non prima, non dopo”.</i> E poco importa che il concerto dei Marnero stasera sia un mezzo disastro (i suoni soffocati, la voce a coprire tutto), anzi, è proprio tra le macerie della loro musica sull’orlo del collasso che le parole di JD Raudo risuonano come una scialuppa di salvataggio per quello che avverrà. <i>“Questo è l’unico mondo possibile, e in questo mondo dobbiamo vivere in un altro modo, insieme, io, noi, loro. E noi siamo loro”</i>.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">[R.T.]</span></div>
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<span style="font-family: Courier New, Courier, monospace;">The last concert. We are one step away from the shipwreck but we don't know it yet. The first signs of a storm on the horizon do not stop us. Friends, laughter, hugs, everything flows in the direction of the (counter)current, in one of the symbolic places of the city (counter)culture. It seems to have gone back 20 years, instead we are on the verge of future. From tomorrow on nothing will be as before. We have always been part of the disaster crew, but starting tomorrow, bringing the fire under the flood will be an even more indispensable undertaking. Because every catastrophe generates new selfishness, and sharks ready to take advantage of it. <i>“Despite everything, we resist in every city by regaining Time at the point where things happen, not before, not after. Not before, not after."</i> And it doesn't matter that Marnero concert tonight is a half disaster (the muffled sounds, the voice covering everything), indeed, it is precisely in the rubble of their music on the verge of collapse that JD Raudo's words resonate like a lifeboat for what is going to happen. <i>"This is the only possible world, and in this world we have to live in another way, together, me, us, them. And we are them."</i></span></div>
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<span style="font-family: Courier New, Courier, monospace;">[R.T.]</span></div>
Disco Volantehttp://www.blogger.com/profile/17764443995165351390noreply@blogger.com0tag:blogger.com,1999:blog-5800774727794268836.post-65695734413727098112020-05-19T09:06:00.001-07:002020-05-19T09:06:29.618-07:00Duel – 21.02.2020 – Cafè Albatross (Pisa)<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Courier New, Courier, monospace;">In un momento storico in cui dobbiamo accontentarci di eventi in streaming ascoltati con il culo sul divano per avere un’esperienza condivisa tra band e pubblico, suona non soltanto nostalgico, ma anche romantico ricordare un concerto vero e proprio. Un concerto che in sé di romantico non pretendeva di avere nulla. Sudore, birra e distorsioni valvolari, in una stanza microscopica sovraffollata di facce amiche. Aspetti che sono parte integrante dell’esperienza live e che, da lì a poco, saremmo stati costretti a non poter rivivere, ma che sono indispensabili per veicolare tutta l’energia di una band rock, in particolare dei Duel. Una band che quella sera di fine febbraio ha regalato uno dei suoi migliori concerti, tra i tanti ai quali ho assistito. Con i pezzi dell’ultimo disco, <i>Valley of Shadows</i>, perfettamente integrati con i vecchi brani, e in grado di aggiungere un pizzico di melodia al groove dei loro riff sabbiosi. Nella serata in cui l’Italia iniziava a rendersi conto del pericolo Coronavirus, ma ancora era ignara degli stravolgimenti che questo avrebbe comportato nei nostri rapporti sociali, un evento di pura energia condivisa come il concerto dei Duel è un ricordo di romanticismo resistente. Condividere l’energia di un concerto significa restituire, da ascoltatori, ciò che la musica ci ha dato, sostenendo oggi più di prima tutte le realtà underground (band, etichette, locali, festival, agenzie di booking, negozi di dischi…) che usciranno da questo disastro con le ossa rotte. Questa è l’unica via per far scorrere nuovamente l’energia fuori dagli amplificatori.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">In a historical moment in which we have to settle for streaming events listened to with our ass on the sofa to have a shared experience between band and audience, it sounds not only nostalgic but also romantic to remember a real concert. A concert that in itself did not claim to have anything romantic Sweat, beer and tube distortions, in a microscopic room overcrowded with friendly faces. Aspects that are an integral part of the live experience and that, shortly thereafter, we would have been forced not to be able to re-experience, but which are essential to convey all the energy of a rock band, especially of a band like Duel. And that evening in late February they played one of their best concerts among the many I attended. With the songs of the latest album, <i>Valley of Shadows</i>, perfectly integrated with the old ones, and able to add a touch of melody to the groove of their sandy riffs. In the evening when Italy began to realize the Coronavirus danger, but still was unaware of the upheavals that this would have entailed in our social relationships, an event of pure shared energy such as Duel's concert is a memory of resistant romance. Sharing the energy of a concert means giving back, as listeners, what music has given us, supporting today more than ever all underground realities (bands, labels, clubs, festivals, booking agencies, record shops...) that will come out of this disaster with broken bones. This is the only way to let the energy flow out of the amplifiers again.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">[R.T.]</span></div>
Disco Volantehttp://www.blogger.com/profile/17764443995165351390noreply@blogger.com0tag:blogger.com,1999:blog-5800774727794268836.post-68337621979336604552020-05-16T10:11:00.000-07:002020-05-16T10:11:24.533-07:00A Gozerian Night [Tons + Burning Gloom + Dogs for Breakfast + Carmona Retusa + Danse Macabre] – 25.01.2020 – Spazio211 (Torino)<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-3K0Hye6AE3w/XsAc6tYosRI/AAAAAAAADPc/4Kbk2tkTKXExpGPR5k_L69o4U_UXMrafACLcBGAsYHQ/s1600/DogsForBreakfast.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="150" src="https://1.bp.blogspot.com/-3K0Hye6AE3w/XsAc6tYosRI/AAAAAAAADPc/4Kbk2tkTKXExpGPR5k_L69o4U_UXMrafACLcBGAsYHQ/s200/DogsForBreakfast.jpg" width="200" /></a><a href="https://1.bp.blogspot.com/-u4kh8gJe4EE/XsAdBDYEu0I/AAAAAAAADPg/KjB17BhEURQmPLamIIkv6zkThWt6y9C4ACLcBGAsYHQ/s1600/CarmonaRetusa3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="150" src="https://1.bp.blogspot.com/-u4kh8gJe4EE/XsAdBDYEu0I/AAAAAAAADPg/KjB17BhEURQmPLamIIkv6zkThWt6y9C4ACLcBGAsYHQ/s200/CarmonaRetusa3.jpg" width="200" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>A Gozerian Night [Tons + Burning Gloom + Dogs for Breakfast + Carmona Retusa + Danse Macabre] – 25.01.2020 – Spazio211 (Torino)</b></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Gozer è un pò lo Cthulhu dei ragazzini nerd degli anni '80. Il demone dei Ghostbusters, rimasto nell’immaginario collettivo per la sua materializzazione sotto forma di pupazzone vestito da marinaio, è il simbolo perfetto per rappresentare questa serata torinese, a metà tra heavy metal gigantesco e godzilliano, e stoner rock con occhi arrossati e risate convulse, voluta caricatura della musica heavy.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Entro nello Spazio211 sulle prime bordate del duo (chitarra e batteria) <b>Danse Macabre</b>. Con riff grassi e sanguinolenti come quelli degli Entombed del periodo death n’ roll, ma con qualche concessione post metal melodica, sono un’adeguata prima evocazione dello spirito maligno, anche se ancora un po’ acerba.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Mi perdo i Noise Trail Immersion per mangiarmi un hamburger nell’ampio giardino del locale, e quando rientro l’atmosfera è completamente cambiata. I <b>Carmona Retusa</b> sono infatti una noise band che sembra uscita dagli anni '90 cuneesi. Ma a differenza dello spirito poetico dei Marlene Kuntz, la band torinese possiede un nervosismo tipicamente americano. I riff si scheggiano in feedback e dissonanze, i ritmi sono ossessivi (solo a tratti eccessivamente ripetitivi), mentre la voce, abrasiva, declama versi in italiano con il tipico incedere del rock alternativo tricolore. Una scoperta assolutamente esaltante per ogni appassionato delle sonorità Amphetamine Reptile come me.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Dalle riflessioni intellettuali dei Carmona Retusa alla forza bruta dei <b>Dogs for Breakfast</b> il salto sembra avvenire attraverso un portale interdimensionale. Ma è bellissimo farsi sbalzare in quest’altro universo, soprattutto perché l’energia attrattiva è così potente che sembra di essere risucchiati da una trappola acchiappafantasmi. I Dogs for Breakfast sono una calamita che ti sbalza sotto il palco, nel pogo, tra macigni di riff, veri e propri asteroidi stoner/sludge in stile High on Fire. Straordinari, band della serata!</span></div>
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<span style="font-family: Courier New, Courier, monospace;">I <b>Burning Gloom</b> raffreddano i muscoli, ma infiammano ancor di più il cuore. Il loro hard rock alternativo, con sfumature settantiane, pesantezza doom e rotondità stoner, è reso particolarmente passionale dall’incredibile voce di Laura Mancini, tanto potente, versatile e tecnicamente impeccabile, quanto personale. Le atmosfere da occult rock più che rifarsi esclusivamente a sonorità del passato (come nella stragrande maggioranza delle band del genere), attraversano la linea del tempo pescando anche nel rock alternativo degli anni '90 e nello sludge del nuovo millennio, senza mai perdere di vista il calore emotivo della melodia.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Gozer in versione “omino Michelin” si presenta a noi sotto forma dei <b>Tons</b>. Il gigantesco sludge della band torinese appare nella sua nebbiosa e umida città come un enorme King Kong strafatto, che si muove al rallentatore abbattendo tutto ciò che incontra. Lampi psichedelici come flussi verdastri sparati da zaini protonici, alternati a mazzate di riff ultragonfi. Le urla di Weed Mason sono la voce del demonio, ovviamente sotto l’effetto di qualche sostanza, che si insinua tra le crepe del muro di distorsione eretto dalla band, come tentacoli di una creatura ideata da Lovecraft.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Con il magma sonoro dei Tons (che con <i>Abbath’s Psychedelic Breakfast </i>vincono il premio “miglior titolo di sempre”) si conclude questa serata/evento capace di riunire (in uno dei pochi storici locali alternativi italiani rimasti) molte variegate e valide band tutte italiane, accomunate dalla passione per suoni pesanti, riff serrati e melodie non convenzionali. Un mix perfetto e riuscito, che ha infatti richiamato e accolto un pubblico davvero numeroso e di appassionati.</span></div>
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<span style="font-family: "Courier New", Courier, monospace;">[R.T.]</span></div>
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<a href="https://1.bp.blogspot.com/-1SCRbmud_YU/XsAdcFVzsAI/AAAAAAAADP4/YKFaiDTdelcpuoxUxqkI8uvkLRORPzjKACLcBGAsYHQ/s1600/DanseMacabre.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1393" data-original-width="1600" height="173" src="https://1.bp.blogspot.com/-1SCRbmud_YU/XsAdcFVzsAI/AAAAAAAADP4/YKFaiDTdelcpuoxUxqkI8uvkLRORPzjKACLcBGAsYHQ/s200/DanseMacabre.jpg" width="200" /></a><a href="https://1.bp.blogspot.com/-EneKZI9dJrI/XsAdhojo-9I/AAAAAAAADQA/9v-3x34aPp0Z_DFSVB3Maf3qOjLMdbyCACLcBGAsYHQ/s1600/DogsForBreakfast3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1320" data-original-width="1600" height="165" src="https://1.bp.blogspot.com/-EneKZI9dJrI/XsAdhojo-9I/AAAAAAAADQA/9v-3x34aPp0Z_DFSVB3Maf3qOjLMdbyCACLcBGAsYHQ/s200/DogsForBreakfast3.jpg" width="200" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>A Gozerian Night [Tons + Burning Gloom + Dogs for Breakfast + Carmona Retusa + Danse Macabre] – 01.25.2020 – Spazio211 (Torino)</b></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Gozer is in some way the Cthulhu of 80s nerdy kids. The Ghostbusters demon, alive in the collective imagination for its materialization as an enormous puppet dressed as a sailor, is the perfect symbol of this Turinese evening, halfway between gigantic and Godzillian heavy metal, and stoner rock with red eyes and convulsive laughter, done on purpose caricature of heavy music.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">I enter Spazio211 on the first strokes of the duo (guitar and drums) <b>Danse Macabre</b>. With fat and bloody riffs like those of the Entombed of the death n 'roll period, yet with some post metal melodic concessions, they are an adequate first evocation of the evil spirit, even if still a little bit immature.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">I miss Noise Trail Immersion to eat a hamburger in the large garden of the venue, and when I come back inside the atmosphere has completely changed. Indeed <b>Carmona Retusa</b> are a noise band that seems to come out of 90s Cuneo. But unlike the poetic spirit of Marlene Kuntz, the Turinese band has a typically American nervousness. Riffs splinter in feedbacks and dissonances, rhythms are obsessive (only at times excessively repetitive), while the abrasive voice declaims verses in Italian with the typical gait of tricolour alternative rock. An absolutely exciting discovery for any Amphetamine Reptile's sounds enthusiast like me.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">From Carmona Retusa intellectual reflections to <b>Dogs for Breakfast </b>brutal force, this leap seems to take place through an interdimensional portal. Yet it is great to be thrown into this other universe, especially because the attractive energy is so powerful that it seems to be sucked into a ghost catcher trap. Dogs for Breakfast are a magnet that throws you off the stage, in the moshpit, among boulders of riffs, real stoner/sludge asteroids in High on Fire style. Extraordinary, band of the evening!</span></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>Burning Gloom</b> cool the muscles, but inflame the heart even more. Their alternative hard rock, with 70s hints, doom heaviness and stoner roundness, is made particularly passionate by Laura Mancini's incredible voice, as powerful, versatile and technically impeccable as it is personal. The occult rock atmospheres more than refer exclusively to sounds of the past (as in the vast majority of the bands of this genre) cross the timeline also fishing into 90s alternative rock and into the sludge of the new millennium, without ever losing sight of the emotional warmth of the melody.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Gozer in his "Michelin mascot" version intoroduces himself to us in the form of <b>Tons</b>. The gigantic sludge of the Turinese band appears in its misty moist city like a huge ultra-stoned King Kong, moving in slow motion, knocking down everything he finds along his path. Psychedelic flashes like greenish streams fired from protonic backpacks, alternating with blows of mastodontic riffs. Weed Mason's screams are the voice of the devil, obviously under the effect of some substance, insinuating between the cracks of the distortion wall erected by the band, like tentacles of a lovecraftian creature.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">With the sonic magma created by Tons (who with <i>Abbath's Psychedelic Breakfast</i> win the "best title ever" award) comes to its conclusion this evening/event able to bring together (in one of the few surviving Italian historic alternative venues) many varied valid all Italian bands, united by the passion for heavy sounds, tight riffs and unconventional melodies. A perfect and successful mix, which has in fact attracted and welcomed a truly large audience of enthusiasts.</span></div>
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<span style="font-family: "Courier New", Courier, monospace;">[R.T.]</span></div>
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<a href="https://1.bp.blogspot.com/-FxPKy8p0ekA/XsAd9lDGCgI/AAAAAAAADQU/8TfL4ZIqq6UIZjZi0rxyGfmctRFm88byACLcBGAsYHQ/s1600/CarmonaRetusa.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="150" src="https://1.bp.blogspot.com/-FxPKy8p0ekA/XsAd9lDGCgI/AAAAAAAADQU/8TfL4ZIqq6UIZjZi0rxyGfmctRFm88byACLcBGAsYHQ/s200/CarmonaRetusa.jpg" width="200" /></a><a href="https://1.bp.blogspot.com/-IdUg_74fd5g/XsAeDoHGwLI/AAAAAAAADQc/CqPhO-ILfmUl_xzy1UJIWlfT6_FLP0ezwCLcBGAsYHQ/s1600/DogsForBreakfast2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="150" src="https://1.bp.blogspot.com/-IdUg_74fd5g/XsAeDoHGwLI/AAAAAAAADQc/CqPhO-ILfmUl_xzy1UJIWlfT6_FLP0ezwCLcBGAsYHQ/s200/DogsForBreakfast2.jpg" width="200" /></a></div>
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Disco Volantehttp://www.blogger.com/profile/17764443995165351390noreply@blogger.com0tag:blogger.com,1999:blog-5800774727794268836.post-49729056422218518982020-05-10T07:27:00.000-07:002020-05-10T07:27:38.972-07:00Monolord – No Comfort<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-OxMLLtd9t8g/XrgLYm0SOUI/AAAAAAAADPA/zODZpsfts_E3SwxOo8cGWFxXH0vg6s9JACLcBGAsYHQ/s1600/monolordnocomfort.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1600" height="320" src="https://1.bp.blogspot.com/-OxMLLtd9t8g/XrgLYm0SOUI/AAAAAAAADPA/zODZpsfts_E3SwxOo8cGWFxXH0vg6s9JACLcBGAsYHQ/s320/monolordnocomfort.jpg" width="320" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>(Relapse, 2019)</b></span></div>
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<span style="font-family: Courier New, Courier, monospace;">I dischi dei Monolord sono come le puntate di <i>Stranger Things</i>. Se sei nerd e sei fissato con un certo tipo di immaginario non puoi non innamorartene. Se sei cresciuto negli anni '80 non puoi non divertirti come un matto di fronte alle avventure di Dustin e compagni, così come, se sei cresciuto ascoltando i Black Sabbath e tutto lo stoner doom degli anni '90/'00 non puoi non esaltarti con la musica del trio svedese. La retromania che porta i quarantenni a guardare <i>Stranger Things</i> è simile a quella dei barbuti metallari della stessa età di fronte ai riffoni ciccioni, ma elastici, di Thomas Jäger. Ma non c’è solo nostalgia in tutto questo. La centrifuga di citazioni e omaggi, tanto precisi, dettagliati e circostanziati da sembrare fredde costruzioni di un algoritmo (come le playlist di Spotify), nasconde in realtà una personalità autentica, ben radicata nel presente. E non solo perché questa rilettura postmoderna del passato è una caratteristica dell’oggi. Così come <i>Ritorno al futuro</i> guardava agli anni '50 con gli occhi di un adolescente degli anni '80 (che quegli anni non li aveva mai vissuti se non nei racconti dei genitori), così <i>Stranger Thing</i>s e, per continuare il parallelo, i Monolord si pongono l’obiettivo di introdurre i millennials in un mondo così distante dal loro quotidiano da risultare un vero e proprio universo parallelo. Questo grazie ad una sensibilità tipica del nuovo millennio: il ritmo narrativo per <i>Stranger Things</i>, l’immediatezza melodica per i Monolord. E’ proprio questo che li rende unici. Il gusto melodico degli svedesi, che nel primo disco sotto Relapse raggiunge la completa maturità, è assolutamente inedito per il genere. La naturalezza compositiva con la quale si sviluppano le canzoni ricorda la facilità con la quale si esprimeva Kurt Cobain con la sua voce e gli Iron Maiden con i loro intrecci di chitarra. Mai Electric Wizard, Sleep o Cathedral erano arrivati – e neanche ci avevano provato - fino a questo punto. I Monolord hanno fatto ad un genere di nicchia ciò che <i>Stranger Things</i> ha fatto con la cultura di massa, raggiungendo con <i>No Comfort</i> la vetta della loro discografia.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">[R.T.]</span></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>(Relapse, 2019)</b></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Monolord records are like <i>Stranger Things</i> episodes. If you are a nerd and if you are obsessed with a certain kind of imagination, you cannot help but fall in love with it. If you grew up in the 80s you cannot but have fun like crazy watching Dustin & co adventures, as well as, if you grew up listening to Black Sabbath and all the 90s/00s stoner doom you cannot but be excited by the music of the Swedish trio. The retromania that makes 40-year-olds watch <i>Stranger Things</i> is similar to that of bearded metalheads of the same age listening to the fat, yet elastic, Thomas Jäger's riffs. But there is not only nostalgia in all this. The centrifuge of quotes and tributes, so precise, detailed and specific as to seem cold constructions of an algorithm (like Spotify playlists), actually hides an authentic personality, well rooted in the present. And not just because this postmodern rereading of the past is a characteristic of today. Just as <i>Back to the future</i> looked at the 50s through the eyes of an 80s teenager (who had never lived those years except in the stories of his parents), so <i>Stranger Things</i> and, to continue the parallel, Monolord set the goal of introducing millennials into a world so distant from their everyday life to be for them as a real parallel universe. All this thanks to a sensitivity typical of the new millennium: the narrative rhythm for <i>Stranger Things</i>, the melodic immediacy for Monolord. The melodic taste of the Swedes, which reaches full maturity in their first album under Relapse, is absolutely original for the genre. The compositional spontaneity with which the songs are developed recalls the ease with which Kurt Cobain expressed himself with his voice and Iron Maiden with their guitar weaves. Never before had Electric Wizard, Sleep or Cathedral made it to this point - and they hadn't even tried. Monolord have done to a niche genre what <i>Stranger Things</i> has done with mass culture, reaching the top of their discography with <i>No Comfort</i>.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">[R.T.]</span></div>
Disco Volantehttp://www.blogger.com/profile/17764443995165351390noreply@blogger.com0tag:blogger.com,1999:blog-5800774727794268836.post-10422805784015119262020-05-06T09:06:00.001-07:002020-05-06T09:06:03.767-07:00Kadavar – For the Dead Travel Fast<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-PqZk76F2868/XrLf_-DLZ3I/AAAAAAAADO0/pJa9UmAEO4wuln-ivizxLk8X7ilV57l_ACLcBGAsYHQ/s1600/kadavarftdtf.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1271" data-original-width="1600" height="254" src="https://1.bp.blogspot.com/-PqZk76F2868/XrLf_-DLZ3I/AAAAAAAADO0/pJa9UmAEO4wuln-ivizxLk8X7ilV57l_ACLcBGAsYHQ/s320/kadavarftdtf.jpg" width="320" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>(Nuclear Blast, 2019)</b></span></div>
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<span style="font-family: Courier New, Courier, monospace;"><i>“Sul bordo di un precipizio terrificante… con una spaccatura profonda in cui vi è un abisso [con] fili d’argento, dove i fiumi si snodano in gole profonde”</i>. Qui, dove la natura selvaggia ha la meglio sulla razionalità umana, si trova il castello al quale Bram Stoker si ispirò per ambientare la storia del suo conte sanguinario. E proprio quel castello, che incombe inquietante sulla copertina del quinto album dei Kadavar, è il luogo in cui la musica della band tedesca si manifesta. Tra quelle mura, e nella mente di chi le abita, aleggia una densa nebbia e danzano i demoni. Distorcendo la percezione come mai fatto prima, i Kadavar creano la loro personale visione del dark sound che in questi anni ha affascinato tante band dedite alla riscoperta del rock anni '70. Ma a differenza di altri che avevano intrapreso questo sentiero prima di loro, il viaggio dei Kadavar verso il lato oscuro non è un’orgiastica messa nera di matrice prog o una spaventosa discesa nelle catacombe del doom, bensì una spirale psichedelica che entra nella mente del malvagio. Una mente assetata di lussuria, ma al tempo stesso romantica, imprigionata negli angoli più bui della notte. Al di là della nebbia che dilata il tempo, oltre l’ultima porta che si trova in fondo al più lungo dei corridoi, i Kadavar nascondono ancora il loro cuore rock, caratterizzato da melodie epiche e riff trascinanti, che in certi momenti si colorano di doom sepolcrale. Ma ciò che rende <i>For the Dead Travel Fast</i> un disco unico, e non solo nella discografia del trio berlinese, è quel senso di mistero, inquietudine e malinconia che si prova cercando di osservare cosa si cela al di là della notte.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">[R.T.]</span></div>
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<span style="font-family: Courier New, Courier, monospace;">*** </span></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>Kadavar – For the Dead Travel Fast</b></span></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>(Nuclear Blast, 2019)</b></span></div>
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<span style="font-family: Courier New, Courier, monospace;"><i>"On the edge of a terrifying precipice ... with a deep rift in which there is an abyss [with] silver threads, where rivers wind their way through deep gorges."</i> Here, where wild nature prevails over human rationality, there is the castle which inspired Bram Stoker for the set of the story of his bloodthirsty count. And precisely that castle, looming disturbingly on the cover of Kadavar fifth album, is the place where the music of the German band manifests itself. Within those walls, and in the minds of those who live there, a dense fog hovers and demons dance. By distorting perception like never before, Kadavar create their own vision of the dark sound that in recent years has fascinated many bands dedicated to the rediscovery of 70s rock. But unlike others who had taken this path before them, Kadavar's journey to the dark side is not an orgy black mass of prog matrix or a frightening descent into the doom catacombs, yet a psychedelic spiral that enters the mind of the evil. A mind thirsty for lust, but at the same time romantic, imprisoned in the darkest corners of the night. Beyond the fog that expands time, beyond the last door that is at the bottom of the longest of the corridors, Kadavar still hide their rock heart, characterized by epic melodies and enthralling riffs, which at times are colored with sepulchral doom. But what makes <i>For the Dead Travel Fast</i> a unique album, and not only in the discography of the Berlin trio, is that sense of mystery, restlessness and melancholy that is felt trying to observe what is hidden beyond the night.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">[R.T.]</span></div>
Disco Volantehttp://www.blogger.com/profile/17764443995165351390noreply@blogger.com0tag:blogger.com,1999:blog-5800774727794268836.post-21939012194953139432020-04-29T09:06:00.000-07:002020-04-29T09:06:53.869-07:00The Well – 24.01.2020 – Cascina Bellaria Rural Music Club! (Sezzadio, AL)<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-FcgpOQ3VqYc/XqmM5WkrA6I/AAAAAAAADOI/EOVsmWl9ZeskiFdIAazvjri7d1Qo05rhwCLcBGAsYHQ/s1600/thewell5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1319" data-original-width="1600" height="263" src="https://1.bp.blogspot.com/-FcgpOQ3VqYc/XqmM5WkrA6I/AAAAAAAADOI/EOVsmWl9ZeskiFdIAazvjri7d1Qo05rhwCLcBGAsYHQ/s320/thewell5.jpg" width="320" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;">Me li ricordavo più pelosi i The Well. Più barba (il chitarrista), capelli più lunghi (la bassista), melodie più ispide. E’ passato quasi un anno e mezzo dal <a href="https://discovolanteblog.blogspot.com/2018/10/the-well-05102018-cafe-albatross-pisa.html">concerto all’Albatross</a>, e stasera i tre dimostrano di aver spazzolato via un po’ di polvere dal loro doom, pettinato con cura le melodie e dato un tocco di colore all’atmosfera. La band di Austin, la cui particolarità è sempre stata quella di abbinare una componente sognante al mood da cripta sotterranea dei primi Black Sabbath, stasera mi spiazza per aver colorato così tanto le mura della catacomba. L’intreccio luccicante delle voci contrasta con l’oscurità dei riff, che però non hanno perso un pelo dei loro tipici fuzz e groove: ma forse è proprio questa stridente contraddizione a rendere ancor più particolare la loro musica. Con il trascorrere del concerto, mi accorgo che ciò che è cambiato è l’atmosfera all’interno della tomba. La volta precedente, grazie ad un continuo richiamo a melodie orientali, avevo l’impressione di esser finito nei sotterranei di una piramide: caldi, soffocanti, con una maledizione che aleggiava al loro interno.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Adesso invece sono dentro una tomba di marmo splendente. Una tomba di marmo rosa, ma pur sempre una tomba. E devo ammettere che queste superfici brillanti si abbinano perfettamente all’immediatezza delle loro canzoni! Stasera i The Well hanno creato una versione onirica del doom metal, con atmosferee più soffuse ed eteree, e non solo grazie alla voce di Lisa Alley.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">[R.T.]</span></div>
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<a href="https://1.bp.blogspot.com/-_f-saZZ16Yo/XqmNFb2_ZhI/AAAAAAAADOM/VQ--BJnKcosfkl0wdCKxoZVw9usOkmEigCLcBGAsYHQ/s1600/thewell6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1366" data-original-width="1600" height="273" src="https://1.bp.blogspot.com/-_f-saZZ16Yo/XqmNFb2_ZhI/AAAAAAAADOM/VQ--BJnKcosfkl0wdCKxoZVw9usOkmEigCLcBGAsYHQ/s320/thewell6.jpg" width="320" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;">The Well. I remembered them definitely more hairy. More beard (the guitarist), longer hair (the bassist), more bristly melodies. Almost a year and a half has passed since their <a href="https://discovolanteblog.blogspot.com/2018/10/the-well-05102018-cafe-albatross-pisa.html">concert at Albatross</a>, and tonight the three show that they have brushed some dust off their doom, carefully combed the melodies and given a touch of colour to the atmosphere. The band from Austin, one of whose main feature has always been that of combining a dreamy component with the underground crypt mood of the first Black Sabbath, tonight floors me for having coloured the walls of the catacomb so much. The shimmering intertwining of the voices contrasts with the darkness of the riffs, which however have not lost their typical fuzz and groove: but perhaps it is precisely this clashing contradiction to make their music even more unique. As the concert goes by, I realize that what has changed is the atmosphere inside the tomb. Last time, thanks to a continuous reference to oriental melodies, I had the impression of having ended up in the basement of a pyramid: hot, suffocating, with a curse hovering inside it. Now, instead, I'm inside a shining marble tomb. A pink marble tomb, but still a tomb. And I must admit that these brilliant surfaces perfectly match the immediacy of their songs! Tonight The Well have created a dreamlike version of doom metal, with more suffused and ethereal atmospheres, and not only thanks to Lisa Alley's voice.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">[R.T.]</span></div>
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<a href="https://1.bp.blogspot.com/-POGIX1uV3R8/XqmNQR2XnQI/AAAAAAAADOU/jiP-ggYS754VVdm5dyyPLrLj_YCO4mTMQCLcBGAsYHQ/s1600/thewell7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1240" data-original-width="1600" height="248" src="https://1.bp.blogspot.com/-POGIX1uV3R8/XqmNQR2XnQI/AAAAAAAADOU/jiP-ggYS754VVdm5dyyPLrLj_YCO4mTMQCLcBGAsYHQ/s320/thewell7.jpg" width="320" /></a></div>
Disco Volantehttp://www.blogger.com/profile/17764443995165351390noreply@blogger.com0tag:blogger.com,1999:blog-5800774727794268836.post-62317573812647992762020-04-26T06:04:00.001-07:002020-04-26T06:04:22.698-07:00Cult of Luna – A Dawn to Fear<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-QmUeaTr1QwU/XqWGuyDbK-I/AAAAAAAADN4/N-MxhBEI2NUt2XEF9dgEmvqbHjqo9peCgCLcBGAsYHQ/s1600/cultofluna.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1600" height="319" src="https://1.bp.blogspot.com/-QmUeaTr1QwU/XqWGuyDbK-I/AAAAAAAADN4/N-MxhBEI2NUt2XEF9dgEmvqbHjqo9peCgCLcBGAsYHQ/s320/cultofluna.jpg" width="320" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;">Per anni ho ascoltato musica, letto libri e guardato film di fantascienza distopica, consapevole che questa possedesse una capacità d’analisi della realtà e dei suoi possibili sviluppi futuri. Ma, sinceramente, finché la vita quotidiana non si è trasformata nella sceneggiatura di un film di John Carpenter - o David Cronenberg - e non ha assunto le atmosfere apocalittiche dei dischi di Neurosis, Isis o Cult of Luna, non pensavo che tutto questo potesse realizzarsi in modo letterale. Essendosi dimostrate quasi premonitrici, le riflessioni e gli interrogativi sollevati da questi visionari necessitano più che mai, proprio adesso, di essere ascoltate. Così immergersi nei quasi 80 minuti di <i>A Dawn to Fear</i>, ultimo disco dei Cult of Luna, non è solo catartico, ma proprio formativo. <i>“Il cielo sopra il porto era del colore di uno schermo televisivo sintonizzato su un canale morto”</i>. Così inizia il <i>Neuromante</i> di William Gibson, e con questa atmosfera si apre il disco. Messe parzialmente da parte le visioni spaziali di <i>Vertikal</i> e <i>Mariner</i>, la band svedese crea un universo grigio fatto di riff di cemento armato, dissonanze metalliche e ampie vetrate che osservano una città deserta. Una città che si affaccia sul mare - talvolta tempestoso, talvolta così calmo da sembrare in attesa della bufera. Nel perfetto equilibrio tra potenza esplosiva e contemplazione malinconica, tra oppressione insostenibile e speranza di riscatto, sta lo splendore di questo album. Non un concept album, a discapito dell’organicità narrativa dell’insieme, ma otto lunghe riflessioni su una realtà oscura e sul desiderio bruciante di affrontarla in modo attivo, senza farsi travolgere da essa. Una delle opere più affascinanti della band, e indubbiamente una delle più attuali. <i>“We break the silence with our heartbeats”</i>.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">[R.T.]</span></div>
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<span style="font-family: Courier New, Courier, monospace;">***</span></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>Cult of Luna – A Dawn to Fear</b></span></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>(Metal Blade, 2019)</b></span></div>
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<span style="font-family: Courier New, Courier, monospace;">For years I've been listening to music, reading books and watching dystopian science fiction movies, aware that these possessed an ability to analyze reality and its possible future developments. But honestly, until everyday life turned into the script of a John Carpenter's - or David Cronenberg's - movie and took on the apocalyptic atmospheres of Neurosis, Isis or Cult of Luna records, I didn't think all this could become literally real. Having proved almost premonitory, right now the reflections and questions raised by these visionaries need more than ever to be listened to. So, diving into the almost 80 minutes of <i>A Dawn to Fear</i>, Cult of Luna latest album, is not only cathartic, but really formative. <i>"The sky above the port was the color of television, tuned to a dead channel".</i> This is how William Gibson's <i>Neuromancer</i> begins, and with this atmosphere the album opens itself. Partially put aside the space visions of <i>Vertikal</i> and <i>Mariner</i>, the Swedish band creates a gray universe made of reinforced concrete riffs, metallic dissonances and large windows staring at a deserted city. A city overlooking the sea - sometimes stormy, sometimes so calm that it seems to be waiting for the storm. In the perfect balance between explosive power and melancholy contemplation, between unsustainable oppression and hope of liberation, there lies the splendor of this album. Not a concept album, at the expense of the narrative organicity of the whole, but eight long reflections on a dark reality and the burning desire to face it actively, without being overwhelmed by it. One of the most fascinating works of the band, and undoubtedly one of the most current. <i>“We break the silence with our heartbeats”</i>.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">[R.T.]</span></div>
Disco Volantehttp://www.blogger.com/profile/17764443995165351390noreply@blogger.com0tag:blogger.com,1999:blog-5800774727794268836.post-81203329293220184092020-04-21T08:44:00.003-07:002020-04-21T08:44:53.047-07:00Bologna Violenta – 11.01.2020 – Freakout Club (Bologna)<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-6a8oZ9saCHY/Xp74RNurbwI/AAAAAAAADNc/DDr5S1TQjxoWPvJJxOco5EYGRFtQZ6nHACLcBGAsYHQ/s1600/bv.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1600" height="320" src="https://1.bp.blogspot.com/-6a8oZ9saCHY/Xp74RNurbwI/AAAAAAAADNc/DDr5S1TQjxoWPvJJxOco5EYGRFtQZ6nHACLcBGAsYHQ/s320/bv.jpg" width="320" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;">Quando ero piccolo provavo attrazione e repulsione per un’enciclopedia medica dei miei genitori. Guardare quelle foto di malformazioni fisiche era tanto disturbante quanto magnetico. La musica di Bologna Violenta ha su di me più o meno lo stesso effetto. Mi sento sporco ad ascoltarla, ma non posso farne a meno. Soprattutto quando racconta storie reali come quelle della <b>Uno Bianca</b>. Una storia drammatica e terribile, che ha stroncato la vita di decine di persone (e delle loro famiglie) e terrorizzato un paese intero. Ma anche una storia folle, surreale e grottesca, perversamente affascinante. Ascoltare Nicola Manzan che esegue interamente il disco dedicato a quel capitolo nero della storia italiana, proprio in quella Bologna che fu uno dei teatri principali degli eventi, è per me imperdibile. Da solo, sul palco del Freakout, Manzan trasforma le smitragliate dei fratelli Savi in assalti cybergrind. Fughe a velocità folle, auto che inchiodano, inversioni con gomme che stridono, fucilate nella folla ed esecuzioni glaciali. Tutto con una chitarra sparata a mille, accompagnata da drum machine e sampler. Agghiaccianti videoproiezioni raccontano il delirio dei tre fratelli. I rintocchi di una campana per ogni persona uccisa lasciata sulla strada, in una pozza di sangue, rendono il racconto musicale ancor più spaventoso. E’ quando Manzan ripone la chitarra per il violino che il dramma e la sofferenza delle vittime, prima suggeriti, diventano espliciti. L’omaggio che la città di Bologna tributa ai carabinieri uccisi nel gennaio del 1991, o il suicidio del padre dei Savi, vinto dalla vergogna, sono i momenti più toccanti. Momenti nei quali si palesa l'umanità in questa storia di violenza insensata.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Estratti per lo più da <b>Il nuovissimo mondo</b>, i racconti paradossali del bis alleggeriscono la tensione nonostante la musica pesti sempre come il batticarne di un macellaio impazzito e gli schizzi di sangue mi finiscano sempre negli occhi, anzi, negli orecchi. Ma ora siamo di fronte ad un Mondo Movie, un documentario di efferatezze e assurdità che giocano tra realtà e fantasia (perversa).</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Quel che rimarrà memorabile di questo concerto sarà una storia di questa città. Una storia raccontata attraverso l’immane ferocia degli assassini, ma al tempo stesso anche attraverso il dolore delle vittime, e il disgusto e la paura di una comunità sconvolta dall’assurdità del male.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">[R.T.]</span></div>
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<a href="https://1.bp.blogspot.com/-Zz5PZnxRVH0/Xp8UuqpcWNI/AAAAAAAADNo/8e5oRdip5SEPqrlBTu2tYodO_4k1_sUywCLcBGAsYHQ/s1600/bv2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://1.bp.blogspot.com/-Zz5PZnxRVH0/Xp8UuqpcWNI/AAAAAAAADNo/8e5oRdip5SEPqrlBTu2tYodO_4k1_sUywCLcBGAsYHQ/s320/bv2.jpg" width="320" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;">When I was a child, I felt attraction and repulsion for my parents' medical encyclopedia. Looking at those photos of physical malformations was as disturbing as magnetic. Bologna Violenta music has more or less the same effect on me. I feel dirty listening to it, but I can't help it. Especially when it tells real stories like those of the <b>Uno Bianca</b>. A dramatic terrible story, which has killed dozens of people (and their families) and terrified an entire country. But also a crazy, surreal and grotesque story, perversely fascinating. Listening to Nicola Manzan who entirely performs the album dedicated to that black chapter of Italian history, precisely in Bologna which was one of the main theaters of the events, is unmissable for me. On the Freakout stage, Manzan transforms the Savi brothers' machine-gun fires into cybergrind assaults. Escapes at insane speed, cars slamming on the breaks, u-turns with screeching tires, shots in the crowd and glacial executions. All this with a shooting guitar, accompanied by drum machines and samplers. Dreadful video projections tell the delusion of the three brothers. The rings of a bell for each killed person left on the road, in a pool of blood, makes the musical story even more frightening. It is when Manzan puts away the guitar for the violin that the drama and suffering of the victims, previously suggested, become explicit. The tribute that the city of Bologna pays to those <i>carabinieri</i> killed in January 1991 and the suicide of Savi's father (overcome by shame) are the most touching moments. Moments in which humanity reveals itself in this story of senseless violence.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Mostly extracted from <b>Il nuovissimo mondo</b>, the paradoxical tales of the encore relieve tension despite the music always pounds like the meat mallet of a crazy butcher and the splashes of blood always end up in my eyes, indeed, in my ears. But now we are facing a Mondo Movie, a documentary of brutality and absurdity playing between reality and (perverse) fantasy.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">What will remain memorable of this concert will be a story of this city. A story told through the immense ferocity of the killers, but at the same time also through the pain of the victims, and the disgust and fear of a community devastated by the absurdity of evil.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">[R.T.]</span></div>
Disco Volantehttp://www.blogger.com/profile/17764443995165351390noreply@blogger.com0tag:blogger.com,1999:blog-5800774727794268836.post-81836628131038195932020-04-18T07:13:00.001-07:002020-04-18T07:13:39.523-07:00La morte viene dallo spazio – 02.01.2020 – Officina Giovani (Prato)<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-AMUYAD3j-Ok/XpsKUPBbJEI/AAAAAAAADMs/ZzNkZuiDNFcDeAkWNUFPKShFwkpOI5SMQCLcBGAsYHQ/s1600/lmvds2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1425" data-original-width="1600" height="284" src="https://1.bp.blogspot.com/-AMUYAD3j-Ok/XpsKUPBbJEI/AAAAAAAADMs/ZzNkZuiDNFcDeAkWNUFPKShFwkpOI5SMQCLcBGAsYHQ/s320/lmvds2.jpg" width="320" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>La morte viene dallo spazio – 02.01.2020 – Officina Giovani (Prato)</b></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Il 2020 si presenta con oscuri presagi. Un'astronave aliena viene a portarci una musica fatta di "cattive" vibrazioni e il primo concerto dell'anno, con il senno di poi, sembra un messaggio in codice non ascoltato, così come ignorate erano le profezie di Cassandra. </span></div>
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<span style="font-family: Courier New, Courier, monospace;">La psichedelia oscura ed esoterica de <b>La morte viene dallo spazio</b> nasce in quelle galassie in cui fluttuavano i corrieri cosmici tedeschi dei primi anni '70. Ma lungo il suo percorso, prima di raggiungere il nostro pianeta, incontra anche i deliri degli Hawkwind e di certo post punk lisergico. Gli occhi di ghiaccio di Melissa Crema sono ipnotici così come la musica creata dalla sua band, che stordisce con i suoi tempi dilatati e la sua forma fluida e cangiante. Un flauto ci guida, come fossimo i bambini della fiaba dei fratelli Grimm, attraverso onde di chitarra (affidata a Stefano Basurto dei Giöbia) e disturbi magnetici creati dal theremin, tra sconfinati deserti di droni e aurore boreali. Meravigliosi e spaventosi al tempo stesso, i pianeti sconosciuti verso i quali siamo condotti sembrano provenire da un episodio di Star Wars o, più precisamente, da un surreale B-movie fantascientifico degli anni '50-'60 (come quello che ha dato il nome alla band). </span></div>
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<span style="font-family: Courier New, Courier, monospace;">Quella sera ho assistito all'esecuzione della colonna sonora di un film immaginario oppure si è trattato di un vero e proprio avvertimento, un messaggio criptato che al tempo non ero riuscito a cogliere?</span></div>
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<span style="font-family: Courier New, Courier, monospace;">[R.T.]</span></div>
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<a href="https://1.bp.blogspot.com/-HWZUalxyFeU/XpsKcpPQFGI/AAAAAAAADMw/jnp5lApI8Focf6b7HeZNGcnH9kW3_xrugCLcBGAsYHQ/s1600/lmvds3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1425" data-original-width="1600" height="178" src="https://1.bp.blogspot.com/-HWZUalxyFeU/XpsKcpPQFGI/AAAAAAAADMw/jnp5lApI8Focf6b7HeZNGcnH9kW3_xrugCLcBGAsYHQ/s200/lmvds3.jpg" width="200" /></a><a href="https://1.bp.blogspot.com/-zJc9pXMTsMc/XpsKjohTy3I/AAAAAAAADM0/xVd4xKTIiNwpL42uSIwzRsqpqTHD5VmRACLcBGAsYHQ/s1600/lmvds4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1498" data-original-width="1600" height="186" src="https://1.bp.blogspot.com/-zJc9pXMTsMc/XpsKjohTy3I/AAAAAAAADM0/xVd4xKTIiNwpL42uSIwzRsqpqTHD5VmRACLcBGAsYHQ/s200/lmvds4.jpg" width="200" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>La morte viene dallo spazio – 01.02.2020 – Officina Giovani (Prato)</b></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Year 2020 presents itself with dark omens. An alien spaceship comes to bring us a music made of "bad" vibrations and the first concert of the year, with the benefit of hindsight, seems an unlistened coded message, just as Cassandra's prophecies were ignored.</span></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>La morte viene dallo spazio</b>'s<b> </b></span><span style="font-family: "Courier New", Courier, monospace;">dark and esoteric psychedelia </span><span style="font-family: "Courier New", Courier, monospace;">was born in those galaxies in which the German cosmic couriers of the early 70s used to float. But along its way, before reaching our planet, it also encounters Hawkwind's delusions as well as those of certain post-lysergic punk. Melissa Crema's icy eyes are hypnotic as well as the music created by her band, which stuns with its dilated tempo and its fluid and iridescent shape. A flute guides us, as if we were the children of the Grimm brothers' fairy tale, through guitar waves (entrusted to Stefano Basurto from Giöbia) and magnetic disturbances created by the theremin, among boundless deserts of drones and northern lights. Wonderful and scary at the same time, the unknown planets to which we are led seem to come from a Star Wars episode or, more precisely, from a surreal sci-fi B-movie of the 50s-60s (like the one that gave the name to the band).</span></div>
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<span style="font-family: Courier New, Courier, monospace;">That night I attended the execution of the soundtrack of an imaginary movie or was it a real warning, an encrypted message that at the time I was unable to catch on?</span></div>
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<span style="font-family: Courier New, Courier, monospace;">[R.T.]</span></div>
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<a href="https://1.bp.blogspot.com/-SX9rYKh_Iw0/XpsKsiJ0JiI/AAAAAAAADNA/fKln6jQsMW8pXsq27HGhg-TXcHz0awX2QCLcBGAsYHQ/s1600/lmvds.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1465" data-original-width="1600" height="182" src="https://1.bp.blogspot.com/-SX9rYKh_Iw0/XpsKsiJ0JiI/AAAAAAAADNA/fKln6jQsMW8pXsq27HGhg-TXcHz0awX2QCLcBGAsYHQ/s200/lmvds.jpg" width="200" /></a><a href="https://1.bp.blogspot.com/-YR2iIfDzHfI/XpsKzCCmYfI/AAAAAAAADNE/Q8j7edIaVHEpH8TwepIruY9lKDMzdS6eQCLcBGAsYHQ/s1600/lmvds5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1393" data-original-width="1600" height="173" src="https://1.bp.blogspot.com/-YR2iIfDzHfI/XpsKzCCmYfI/AAAAAAAADNE/Q8j7edIaVHEpH8TwepIruY9lKDMzdS6eQCLcBGAsYHQ/s200/lmvds5.jpg" width="200" /></a></div>
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Disco Volantehttp://www.blogger.com/profile/17764443995165351390noreply@blogger.com0tag:blogger.com,1999:blog-5800774727794268836.post-59886028339842397852020-04-14T08:57:00.000-07:002020-04-14T08:57:55.872-07:00Chelsea Wolfe – Birth of Violence<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-NJ504bh66ag/XpXIlJGKPdI/AAAAAAAADMc/7cKvEZdJ_IoDsMEYe2Hg2WcFdjZa_MmzQCLcBGAsYHQ/s1600/birthofviolence.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1600" height="320" src="https://1.bp.blogspot.com/-NJ504bh66ag/XpXIlJGKPdI/AAAAAAAADMc/7cKvEZdJ_IoDsMEYe2Hg2WcFdjZa_MmzQCLcBGAsYHQ/s320/birthofviolence.jpg" width="320" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>Chelsea Wolfe – Birth of Violence</b></span></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>(Sargent House, 2019)</b></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Esporsi, senza più nascondersi dentro ad una nuvola di rumore, è un atto di coraggio. Così come percorrere in solitaria le strade più buie del folk americano, attraversate nel tempo da uomini in nero, ormai leggende del rock statunitense. Ma il coraggio è un attributo che non manca a Chelsea Wolfe. Così, con la sua voce eterea protetta esclusivamente dalla chitarra acustica e sostenuta solo da arrangiamenti soffusi, si inoltra lungo una Route 66 intima e personale, che ha come meta l’universale. Il punto di partenza di questo cammino si trova sulle montagne del Nord della California, dove - lontana dai bagliori e dal caos della sua Sacramento - Chelsea ha trovato la solitudine e il silenzio necessari per concepire le canzoni di <i>Birth of Violence</i>. Sono proprio l’energia e la spiritualità della natura a consentire i primi passi del percorso attraverso i paesaggi umbratili e nebbiosi della società americana e, in particolare, attraverso lo squilibrio tra uomo e donna. Per quanto anche in versione elettrica la musica di Chelsea Wolfe suoni intima, era necessario un disco acustico, nudo, libero da scosse elettriche e da scorie industriali, per risvegliare l’energia femminile nascosta in questa musicista e riconnetterla a Madre Natura. Un viaggio tipicamente americano alla ricerca della spiritualità della natura selvaggia.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">[R.T.]</span></div>
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<span style="font-family: Courier New, Courier, monospace;">***</span></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>Chelsea Wolfe – Birth of Violence <br />(Sargent House, 2019)</b></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Showing yourself, without hiding inside a cloud of noise, is an act of courage. As well as travelling by yourself through the darkest streets of American folk, crossed over time by men in black, now legends of the American rock. But courage is an attribute that is not lacking in Chelsea Wolfe. So, with her ethereal voice protected exclusively by the acoustic guitar and supported only by suffused arrangements, she advances along an intimate and personal Route 66, which has got the universal as its ultimate goal. The starting point of this journey is among the mountains of Northern California, where - far from the glares and chaos of her Sacramento - Chelsea found the solitude and silence necessary to conceive the songs of <i>Birth of Violence</i>. Precisely the energy and the spirituality of nature are the forces that allow the first steps of the journey through the shady and misty landscapes of American society and, in particular, through the imbalance between man and woman. Although Chelsea Wolfe's electric version also sounds intimate, ther was the need of an acoustic naked album, free from electric shock and industrial slags, to awaken the female energy hidden in this musician and reconnect her to Mother Nature. A typically American journey in search of the spirituality of wild nature.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">[R.T.]</span></div>
Disco Volantehttp://www.blogger.com/profile/17764443995165351390noreply@blogger.com0tag:blogger.com,1999:blog-5800774727794268836.post-87104185007009800162020-04-11T09:04:00.002-07:002020-04-11T10:13:37.683-07:00Inter Arma – Sulphur English<div style="text-align: center;">
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<a href="https://1.bp.blogspot.com/-sPL2bEr7U7M/XpHqijZZErI/AAAAAAAADMQ/y5f1N9h-c3IN18mQBxHl1GazCc1UmQZ9ACLcBGAsYHQ/s1600/sulphurenglish.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1600" height="320" src="https://1.bp.blogspot.com/-sPL2bEr7U7M/XpHqijZZErI/AAAAAAAADMQ/y5f1N9h-c3IN18mQBxHl1GazCc1UmQZ9ACLcBGAsYHQ/s320/sulphurenglish.jpg" width="320" /></a></div>
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<span style="font-family: "courier new" , "courier" , monospace;">Stavo ascoltando <i>Sulphur English</i> nell’autoradio quando ad un tratto la batteria dell'auto si è esaurita, e tutto è svanito nel silenzio. Probabilmente la musica degli Inter Arma possiede una forza centripeta in grado di risucchiare l’energia. L’ultimo album della band del Virginia è un vortice magnetico che aspira le fiamme dell’inferno e le comprime in un globo di materia oscura simile alla merda di Mordicchio: densissima e pesantissima, vero e proprio carburante per astronavi. Se riuscissi a invertire il processo e a rigenerare l’energia contenuta nel cd, la mia auto si riaccenderebbe come il Millennium Falcon pronto a saltare nell’iperspazio. Ma non è possibile risalire le spirali discendenti degli arpeggi dissonanti e dei ritmi tribali. Inevitabile cadere sempre più in profondità, spesso deragliando dai binari sghembi dei blast beat impazziti. Raggiunte poi le profondità abissali della materia oscura, la musica fluttua morbida nel vuoto spaziale, guidata dalla voce darkwave di Mike Paparo, e non c’è più alcuna traccia dei riflessi colorati e progressivi, da aurora boreale, di <i><a href="https://discovolanteblog.blogspot.com/2017/06/inter-arma-paradise-gallows.html">Paradise Gallows</a></i>. E’ solo buio che attende di essere illuminato dai bagliori delle fiamme, giganteschi incendi di distorsione. Come se i Neurosis degli anni '90 contemplassero le fiamme appiccate da un Varg Vikernes sotto acido, e i Morbid Angel di <i>Domination</i> cercassero di spegnerle con colate di fango. Dal nucleo profondo in cui si raccoglie tutta l’energia sottratta all’Universo (e alla mia auto) non è più possibile fuggire.</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">[R.T.]</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">***</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">I was listening to <i>Sulphur English</i> on the car radio when all of a sudden the battery of the car ran out, and everything vanished into silence. Inter Arma's music probably has got a centripetal force capable of sucking in energy. The latest album by the band from Virginia is a magnetic vortex that sucks the flames of hell and compresses them into a dark matter globe similar to Nibbler's shit: extremely dense and heavy, a fuel for spaceships. If I could reverse the process and regenerate the energy contained in the CD, my car would turn on again like the Millennium Falcon ready to jump into hyperspace. But it is not possible to climb back the descending spirals of dissonant arpeggios and tribal rhythms. It is inevitable to fall deeper and deeper, often derailing from the skew tracks of the crazy blast beats. Reached the abyssal depths of dark matter, music floats soft in the space void, guided by Mike Paparo darkwave voice, and there is no trace of the colourful and progressive reflections, typical of aurora borealis, of <i><a href="https://discovolanteblog.blogspot.com/2017/06/inter-arma-paradise-gallows.html">Paradise Gallows</a></i>. It is only darkness that awaits to be illuminated by the glow of the flames, gigantic fires of distortion. As if Neurosis of the 90s era contemplated the flames set by a doped Varg Vikernes, and the Morbid Angels of <i>Domination</i> were trying to put them out with mudslides. From the deep core where all the energy taken from the universe (and my car) is collected, it is no longer possible to escape.</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">[R.T.]</span></div>
Disco Volantehttp://www.blogger.com/profile/17764443995165351390noreply@blogger.com0tag:blogger.com,1999:blog-5800774727794268836.post-19342704716295392312020-04-07T07:58:00.000-07:002020-04-07T07:58:08.222-07:00Earth + Helen Money – 23.11.2019 – TPO (Bologna)<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-3YO3ZWLwdlo/XoyUkydZ8TI/AAAAAAAADL0/F4aIJ-_QibYhzn5Gs_L1MNC2s5R3MT0hgCLcBGAsYHQ/s1600/earth.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1285" data-original-width="1600" height="256" src="https://1.bp.blogspot.com/-3YO3ZWLwdlo/XoyUkydZ8TI/AAAAAAAADL0/F4aIJ-_QibYhzn5Gs_L1MNC2s5R3MT0hgCLcBGAsYHQ/s320/earth.jpg" width="320" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;">In questo momento di stasi mi viene naturale ascoltare la musica degli Earth. Una musica in cui il tempo pare sospeso, ma in realtà scorre così come scivolano due placche tettoniche prossime all’impatto. Dopo, il pianeta non sarà più lo stesso. E viene naturale pensare al loro concerto di fine 2019.</span></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>Helen Money</b> prepara l’atmosfera di un TPO in versione ridotta, decisamente più accogliente e con suoni più convincenti rispetto alla serata in cui furono gli Sleep a salire sul suo palco. La violoncellista americana stupra il suo strumento con distorsioni inusuali, generando muri di suono e sferzate post metal. Non mancano i passaggi atmosferici (i più convincenti, per i miei gusti), ma la fisicità con la quale viene modellato e stravolto il suono del violoncello è puro noise metal sperimentale.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Dylan Carlson e Adrienne Davies inscenano il loro western fatto di spazi sconfinati, tempi dilatati, archi di roccia e distese sabbiose. Ben presto mi perdo nei riff reiterati all’infinito e negli arpeggi slabbrati, oltre che nelle distorsioni: gigantesche come la Monument Valley e bollenti come il Sole che su di essa si abbatte. Un serpente che scivola lentamente sulla sabbia, lasciando una traccia di morbide linee curve, come echi che rimbalzano in un canyon. Questi sono gli <b>Earth</b> oggi. Molto più fluidi di quelli che sentii nel 2006, nello storico tour di <i>Hex</i>, accompagnati dai Sunn O))). Più maturi, rilassati, a loro agio nell’abbandonarsi completamente al flusso sonoro. Il loro mondo si muove in slow motion, ma con passo deciso e fermo, come fossero indiani esperti, in grado di cavalcare il feedback con maestria e agilità. Fino a condurci in quel non-luogo in cui il rock si sbriciola e si disperde come sabbia. Un non-luogo di pura energia elettrica, nel quale perdersi è una vera e propria esperienza. Indimenticabile.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">[R.T.]</span></div>
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<a href="https://1.bp.blogspot.com/-YPgKo6gGTI8/XoyUq_vG7EI/AAAAAAAADL4/5I7S2IdZ1wsMniS_PVZkhEiRCr8Xs4lDgCLcBGAsYHQ/s1600/helenmoney.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1421" data-original-width="1600" height="177" src="https://1.bp.blogspot.com/-YPgKo6gGTI8/XoyUq_vG7EI/AAAAAAAADL4/5I7S2IdZ1wsMniS_PVZkhEiRCr8Xs4lDgCLcBGAsYHQ/s200/helenmoney.jpg" width="200" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>Earth + Helen Money – 11.23.2019 – TPO (Bologna)</b></span></div>
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<span style="font-family: Courier New, Courier, monospace;">In this moment of stasis for me </span><span style="font-family: "Courier New", Courier, monospace;">it is natural</span><span style="font-family: "Courier New", Courier, monospace;"> </span><span style="font-family: "Courier New", Courier, monospace;">to listen to Earth's music. A music in which time seems suspended, while indeed it flows just as two tectonic plates close to impact slide. After that, the planet will never be the same again. And so I think of their concert at the end of 2019.</span></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>Helen Money</b> prepares the atmosphere of a TPO in a reduced version, decidedly more welcoming and with more convincing sounds than the evening when Sleep played on this stage. The American cellist rapes her instrument with unusual distortions, generating walls of sound and post metal lashes. There is no shortage of atmospheric passages (the most convincing, for my taste), but the physicality with which the cello sound is modeled and distorted is pure experimental noise metal.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Dylan Carlson and Adrienne Davies stage their western made of boundless spaces, extended times, rock arches and sandy expanses. Soon I get lost in endlessly reiterated riffs and in stretched arpeggios, as well as in distortions: gigantic like the Monument Valley and hot like the Sun that falls on it. A snake sliding slowly on the sand, leaving a trace of soft curved lines, like echoes that bounce in a canyon. These are <b>Earth</b> today. Much more fluid than those I listened to in 2006, during <i>Hex</i> historic tour, together with Sunn O))). More mature, relaxed, at ease in completely abandoning themselves to the sound flow. Their world moves in slow motion, but with a confident and determined pace, as if they were expert Indians, able to ride the feedback with skill and agility. Up to lead us to that non-place where rock crumbles and disperses like sand. A non-place of pure electricity, where getting lost is a real experience. Unforgettable.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">[R.T.]</span></div>
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<a href="https://1.bp.blogspot.com/-fHqQyWvmJgI/XoyUx_3aplI/AAAAAAAADL8/7pXR0DrhKT80gXrW9R9tPpvKlRdz6hwJgCLcBGAsYHQ/s1600/earth2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1395" data-original-width="1600" height="279" src="https://1.bp.blogspot.com/-fHqQyWvmJgI/XoyUx_3aplI/AAAAAAAADL8/7pXR0DrhKT80gXrW9R9tPpvKlRdz6hwJgCLcBGAsYHQ/s320/earth2.jpg" width="320" /></a></div>
Disco Volantehttp://www.blogger.com/profile/17764443995165351390noreply@blogger.com0tag:blogger.com,1999:blog-5800774727794268836.post-76946490444830215772020-04-04T09:20:00.002-07:002020-04-04T09:20:30.607-07:00Tinariwen – 09.11.2019 – Auditorium Flog (Firenze)<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-XYpgRdh90zU/XoizSfSO0_I/AAAAAAAADLM/7H8ZvAPf42sa5cNxafEH293wUwimcp4twCEwYBhgLKs4DAMBZVoCGD_D4FN_AjqUfMWbu5LW49CNUmaSfX42gSyXWaIHdjOwhQFqBMoQ7sQbYu5cXLrma4fbXRkQheRcNle3YJPxLzERVqXn5-TxzYKUex2wufAuXheW5AwAjYwgXvoQLu_oKMvnZ5HoC2-o_C2t1L0IcvGsanFxQeySechflhi75Rb2X_qr6kX8BexbZihmgAhiyVflaYdf9KYOCfw2V3eFadHlmrgvIQN18zPSvsxr_yzG_2q-Ak6aquZCUC3zbQdKvpWaao7TV-8F-tYrWOqF0qYeqCG7SgTz-RK_OcJNVRi4Y9x_IIP1tFKrH3WCyvCIE_U8b_JTMpEW_Uu90wJPnLXINeRvKkwlJCnpKuL-ely1WpaKoanwq0QzqY2vWa4xMd4x8Oe2i9dbA1J3a-tHgrKJnLe6QdtnNqUP_bMv-MzzzPuWg_YmgupkOG-dHIZfbEXMaMdHRgdp5hT0UBNKryIVMSxGMmpZ5zleOsqey7kpQa1I9xTlZKDrd1--q9ZxWKAvrlqfD3nrrjn1exqoDCaX5fM2Cgt-45Dr7vvsD9lFzQDAdSXCQXC2-eeJyH2a9XoBu9Gl9iA6A4KWbQIXsPXXcrB3Da1HTMLfrovQF/s1600/tinariwen2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1499" data-original-width="1600" height="299" src="https://1.bp.blogspot.com/-XYpgRdh90zU/XoizSfSO0_I/AAAAAAAADLM/7H8ZvAPf42sa5cNxafEH293wUwimcp4twCEwYBhgLKs4DAMBZVoCGD_D4FN_AjqUfMWbu5LW49CNUmaSfX42gSyXWaIHdjOwhQFqBMoQ7sQbYu5cXLrma4fbXRkQheRcNle3YJPxLzERVqXn5-TxzYKUex2wufAuXheW5AwAjYwgXvoQLu_oKMvnZ5HoC2-o_C2t1L0IcvGsanFxQeySechflhi75Rb2X_qr6kX8BexbZihmgAhiyVflaYdf9KYOCfw2V3eFadHlmrgvIQN18zPSvsxr_yzG_2q-Ak6aquZCUC3zbQdKvpWaao7TV-8F-tYrWOqF0qYeqCG7SgTz-RK_OcJNVRi4Y9x_IIP1tFKrH3WCyvCIE_U8b_JTMpEW_Uu90wJPnLXINeRvKkwlJCnpKuL-ely1WpaKoanwq0QzqY2vWa4xMd4x8Oe2i9dbA1J3a-tHgrKJnLe6QdtnNqUP_bMv-MzzzPuWg_YmgupkOG-dHIZfbEXMaMdHRgdp5hT0UBNKryIVMSxGMmpZ5zleOsqey7kpQa1I9xTlZKDrd1--q9ZxWKAvrlqfD3nrrjn1exqoDCaX5fM2Cgt-45Dr7vvsD9lFzQDAdSXCQXC2-eeJyH2a9XoBu9Gl9iA6A4KWbQIXsPXXcrB3Da1HTMLfrovQF/s320/tinariwen2.jpg" width="320" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;">Lo ammetto: stasera la mia intenzione è quella di farmi trasportare attraverso il deserto come semplice turista, curioso di scoprire un mondo a me sconosciuto ma, dalle premesse, estremamente intrigante. Uscire dalla comfort zone della musica occidentale, per perdermi in un immenso spazio inesplorato. Come guide ho scelto gente di quei luoghi: i Tinariwen, gruppo di touareg originari del Mali che hanno creato la loro musica nel corso di quarant’anni di spostamenti attraverso il Nordafrica, ma diventati noti al di là del Mediterraneo alla fine degli anni '90, grazie anche a collaborazioni illustri con musicisti occidentali. Ma fin dal loro ingresso in punta di piedi sul palco del Flog, con un brano a base di chitarra acustica e voce, si capisce subito che la loro fama non è dovuta al sostegno ricevuto dall’esterno, né tantomeno ad una curiosità superficiale legata alla loro origine, alla loro storia, o ai loro abiti di scena. Appena l’intimità dell’inizio acustico si trasforma in un mantra elettrico guidato da battito di mani e cori a più voci, sono trasportato in un viaggio al di là delle dune, dove il deserto assume i contorni di un luogo reale. Reale perché racconta la quotidianità di una vita fatta di difficoltà, ma anche di condivisione e comunità. Anche senza capire una parola di quello che viene cantato sul palco, le sensazioni trasmesse dalla musica sono così intense e universali da non aver bisogno di alcuna traduzione. La malinconia di chi è lontano dalla sua terra, la voglia di rivalsa di chi è stato sottoposto ad immani ingiustizia, la determinazione di chi vuole creare un mondo diverso. Ma anche la gioia e la felicità di un rito collettivo in cui condividere esperienze, aprendosi alle differenze. Il concerto dei Tinariwen è gioioso ed invita a ballare, ma mantiene sempre un leggera inquietudine di fondo, e un vago senso di mistero. Una festa di danze e canti intorno al fuoco di un accampamento, che però non si limita al divertimento, ma invita a fissare il fuoco a lungo, suggerendo la visione di un altro mondo, al di là delle fiamme. Un concerto cui non mancano mai ritmo (due percussionisti si intrecciano tra loro, sotto la guida di un bassista estremamente morbido, ma trascinante) e atmosfera ipnotica (gli intrecci vocali ossessivi). Con un bis infuocato che mi ricorda quanto i miei ascolti quotidiani (dai Goat agli OM) siano stati influenzati da queste atmosfere, si chiude questo viaggio. Avvalendosi di strumenti rock, e sporcando di vaghi sentori blues le melodie, i Tinariwen chiudono un cerchio che parte dall’Africa, raggiunge i deserti statunitensi per tornare poi nel continente d’origine. Alla fine di questa esperienza, impossibile non sentirsi dei viaggiatori veri e propri.</span></div>
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<span style="font-family: "Courier New", Courier, monospace;">[R.T.]</span></div>
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<a href="https://1.bp.blogspot.com/-sZmRP0a_loQ/Xoizh6HbRSI/AAAAAAAADLQ/3YIrnUrhNdIpqjbGMaQ_8GiLklQG2IzNQCLcBGAsYHQ/s1600/tinariwen4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1347" data-original-width="1600" height="168" src="https://1.bp.blogspot.com/-sZmRP0a_loQ/Xoizh6HbRSI/AAAAAAAADLQ/3YIrnUrhNdIpqjbGMaQ_8GiLklQG2IzNQCLcBGAsYHQ/s200/tinariwen4.jpg" width="200" /></a><a href="https://1.bp.blogspot.com/-aqpBH7jSxa8/XoiznAx9-dI/AAAAAAAADLY/Q89OIidOvG0cNztWMCdRsXY-q4vmReovwCLcBGAsYHQ/s1600/tinariwen3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1241" data-original-width="1600" height="155" src="https://1.bp.blogspot.com/-aqpBH7jSxa8/XoiznAx9-dI/AAAAAAAADLY/Q89OIidOvG0cNztWMCdRsXY-q4vmReovwCLcBGAsYHQ/s200/tinariwen3.jpg" width="200" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>Tinariwen – 11.09.2019 – Auditorium Flog (Firenze)</b></span></div>
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<span style="font-family: "Courier New", Courier, monospace;">I confess it: tonight I want to be carried through the desert as a simple tourist, to discover a world unknown to me but, from the premises, extremely intriguing. Getting out of the comfort zone of western music, to get lost in an immense unexplored space. As guides I choose people from those places: Tinariwen, a band of touareg from Mali who created their music during forty years of travelling through North Africa, and then became renowned beyond the Mediterranean Sea in the late 90s, thanks also to illustrious collaborations with western musicians. But since their entrance on tiptoe on Flog stage, with a song solely based on acoustic guitar and voice, it is immediately clear that their fame is not due to the support received from the outside, nor even to a superficial curiosity connected with their origin, history or stage clothes. As soon as the intimacy of the acoustic beginning turns into an electric mantra guided by hand clapping and a chorus of many voices, I am transported on a journey beyond the dunes, where the desert takes on the contours of a real place. Real because it tells the daily routine of a life made of difficulties, but also of sharing and community. Even without understanding a word of what is sung on stage, the sensations transmitted by their music are so intense and universal that they do not need any translation. The melancholy of those who are far away from their land, the desire for revenge of those who have been subjected to immense injustice, the determination of those who want to create a different world. But also the joy and happiness of a collective ritual in which is possible to share experiences, opening up to differences. Tinariwen concert is joyful and invites to dance, but it always keeps a slight underlying anxiety, and a vague sense of mystery. A celebration made of dances and songs around the campfire, which however is not limited to fun, but invites you to stare at the fire for a long time, suggesting the vision of another world beyond the flames. A concert that never misses rhythm (two percussionists intertwine with each other, under the guidance of an extremely soft yet enthralling bass player) and a hypnotic atmosphere (obsessive vocal interweavings). With a fiery encore reminding me how much my daily listenings (from Goat to OM) have been influenced by these atmospheres, this journey ends. Playing rock instruments and staining their melodies with vague hints of blues, Tinariwen close a circle that starts from Africa, reaches the US deserts and then returns to the continent of origin. At the end of this experience, it is impossible not to feel like a real traveler.</span></div>
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<span style="font-family: "Courier New", Courier, monospace;">[R.T.]</span></div>
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Disco Volantehttp://www.blogger.com/profile/17764443995165351390noreply@blogger.com0tag:blogger.com,1999:blog-5800774727794268836.post-79708743287886130302020-03-31T09:36:00.000-07:002020-03-31T09:36:23.226-07:00Messa + Zambra + Metide – 01.11.2019 – Il Contro (Prato)<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-SsB9GH0ORQY/XoNxCvIPRCI/AAAAAAAADK4/bUUQ3mBQpnEBQsMQ0Q5UMJS4Y2iGKl_XQCEwYBhgLKs4DAMBZVoDqApu0F0qxXA40ZZdnXjpWUsKpNH3h2YKeGnZxDUHrAD17FxPKIjzVgBAUdTG67IrTBQYtujR0T0ZwxpyevY8qMqN72DkowfbQqdmj6uXmKbtPMJfu4zN_OkYh6J7JGG9jDjRPEH2IHVhEC-wWPbuwX1CfIQB_coUk15m3cX2Y_HFjXcuvlNQs5uX4R3SQQfhtU5wx1-IqWdToI4UKhXGUGKe6aSz_aLVYUh3ZzILsjC6MDE5IyR64Hp6HlSZZWjF2b4-I-5X9UxwbeyUpgM84yC17jtKQw50xHzbAHyjM76EdniBrLwa3TQXIpmPyGJa_-mw0_N4M9MgSyMW07oaXVvQSTphGb8tf_4iYaC5xXWYjYEMgdBK0jb5phk002w16FAl1z7aPNDmDYwAyK-WBy2TCmtkAlVahxpzX6vjSxPdz5ORZuJfo29y_Zajta9Jo5mEOqpqcD_B_fLkw74lqoqdF379HYaHrld1dDkNO4XvUp7GAiwAwGQdZC1viVx8Yklazr-VZakvImJSLduho_Nk2aL3cVE3djw834DRvbvnv_OzcjKAV3JNJX6dSA_IoVFNt0_A1kg4Xr9pykVbDfO51kh3C4Cb3MJvnjfQF/s1600/messa3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://1.bp.blogspot.com/-SsB9GH0ORQY/XoNxCvIPRCI/AAAAAAAADK4/bUUQ3mBQpnEBQsMQ0Q5UMJS4Y2iGKl_XQCEwYBhgLKs4DAMBZVoDqApu0F0qxXA40ZZdnXjpWUsKpNH3h2YKeGnZxDUHrAD17FxPKIjzVgBAUdTG67IrTBQYtujR0T0ZwxpyevY8qMqN72DkowfbQqdmj6uXmKbtPMJfu4zN_OkYh6J7JGG9jDjRPEH2IHVhEC-wWPbuwX1CfIQB_coUk15m3cX2Y_HFjXcuvlNQs5uX4R3SQQfhtU5wx1-IqWdToI4UKhXGUGKe6aSz_aLVYUh3ZzILsjC6MDE5IyR64Hp6HlSZZWjF2b4-I-5X9UxwbeyUpgM84yC17jtKQw50xHzbAHyjM76EdniBrLwa3TQXIpmPyGJa_-mw0_N4M9MgSyMW07oaXVvQSTphGb8tf_4iYaC5xXWYjYEMgdBK0jb5phk002w16FAl1z7aPNDmDYwAyK-WBy2TCmtkAlVahxpzX6vjSxPdz5ORZuJfo29y_Zajta9Jo5mEOqpqcD_B_fLkw74lqoqdF379HYaHrld1dDkNO4XvUp7GAiwAwGQdZC1viVx8Yklazr-VZakvImJSLduho_Nk2aL3cVE3djw834DRvbvnv_OzcjKAV3JNJX6dSA_IoVFNt0_A1kg4Xr9pykVbDfO51kh3C4Cb3MJvnjfQF/s320/messa3.jpg" width="320" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>Messa + Zambra + Metide – 01.11.2019 – Il Contro (Prato)</b></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Sembra trascorsa una vita. Un venerdì sera con gli amici, in un locale, per un concerto. Ora che tutto questo è impossibile, sembra lontanissimo. Ma ciò che lo rende davvero distante è l'incertezza nei confronti del futuro. Non sappiamo quando tutto questo potrà accadere di nuovo. E non sappiamo quale impatto avrà questa crisi sul mondo della cultura e dello spettacolo. Affinché la musica indipendente possa trovare un rifugio nel quale esprimersi, mentre infuria la tempesta e soprattutto quando questa sarà passata, è necessario che chi crede in lei continui a supportarla. Perché luoghi come Il Contro, e band italiane di assoluto valore come quelle che vi hanno suonato il primo giorno di novembre, possano sopravvivere, serve il sostegno di tutti.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">La musica post apocalittica dei <b>Metide</b> è perfetta per queste tristi riflessioni nostalgiche. Il loro post metal atmosferico, che ha fatto letteralmente vibrare le mura del locale di Prato, possiede forza dirompente, ma anche calma malinconica. Seguendo i sentieri tracciati dagli Isis, tra muri di distorsione (forse a tratti un po' troppo gonfi di bassi) e arpeggi che si inseguono tra echi e riverberi, tra growl esplosivo e melodiche (forse un po' troppo per i miei gusti) voci pulite, la band di Bergamo evoca in modo vivido e coinvolgente una tempesta ed i suoi effetti. Quando ancora nessuno immaginava che questa si sarebbe davvero abbattuta su di noi.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Gli <b>Zambra</b>, che avevo già avuto modo di apprezzare sullo stesso palco, ci sputano in faccia il loro noise rock fatto di chiodi arrugginiti, dissonanze, grida, groove disarticolato, pezzi di cemento sbriciolato, droni ipnotici e voci che suonano come un didjeridoo. Sensazioni sgradevoli che nascondono un nucleo melodico ed un'energia non convenzionali. Come nascondersi sottoterra, in un rifugio antiatomico pericolante, mentre fuori il mondo collassa. Proprio ciò di cui la musica indipendente avrà bisogno per poter sopravvivere.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">I <b>Messa</b> hanno un approccio più spirituale all'apocalisse. Riletto con il senno di poi, il loro concerto è un requiem. Tra nebbie gotiche e tremolanti luci melodiche che paiono provenire dal dark sound progressivo degli anni ‘70, i Messa evocano spiriti che in Italia parevano sepolti da troppi anni. Le catacombe del doom sono illuminate da assoli liberi e fluidi, ai limiti del jazz, e dalla splendida voce di Sara, vera e propria torcia in grado di indicare la via nell'oscurità. Anche se stasera la loro musica non è particolarmente valorizzata dall’acustica del locale, i Messa si confermano comunque una perla unica, da custodire gelosamente. Una delle band italiane più affascinanti degli ultimi anni, che dobbiamo imparare a valorizzare, così come avviene all'estero, dove trova meritatamente spazio nel cartellone dei migliori festival.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">A ricordarla oggi, quella serata sembra provenire da un'altra epoca. Sta a noi renderla ancora attuale. E sta a noi donarle quel sostegno che anche ai tempi era indubbiamente insufficiente. Sta a noi inoltrarci in quel rifugio antiatomico, o in quella catacomba, in cui il rock indipendente italiano è nascosto in attesa di tornare all'aperto, quando la tempesta sarà passata.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">[R.T.]</span></div>
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<a href="https://1.bp.blogspot.com/-K1kO6LHRi-s/XoNw21JJ3kI/AAAAAAAADKo/twLH32J-GuQBajrxxdvh1FjJkEsqTRGVwCLcBGAsYHQ/s1600/metide.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1406" data-original-width="1600" height="175" src="https://1.bp.blogspot.com/-K1kO6LHRi-s/XoNw21JJ3kI/AAAAAAAADKo/twLH32J-GuQBajrxxdvh1FjJkEsqTRGVwCLcBGAsYHQ/s200/metide.jpg" width="200" /></a><a href="https://1.bp.blogspot.com/-LV7ER5PJ3jE/XoNwxqJGC2I/AAAAAAAADKw/7xbvVUNAggktu0Ohz5y30g7JOJhyih3PwCEwYBhgLKs4DAMBZVoCcxT0x-xN21CKvEFrMPXrv9QIn6rfdCRMFrA3-w6dF2PCNMiFOcP80NuXfStr83XhGzpJMHfGo3zRilUwcGhnJKER2iyobj-CwDSU3JSYavjfED6FxYUSDvDh53AM4fSwaFzM2glzh20-s9WO3648uEg4daq8f79bPXEk8CK0BKCT5ralDb6Ci89m5M_bo7XFfZwS3nkXWO7RYUD1w5eQ-YfsRoGvUA32DcxwdHvrT0lDj3SQLCD5Jt_4PCJgjEPCQpOVOQVRB_CxYsjaFbY0APoANWjOOqD4JSCVrEPMQmifRRjuR3RvwS6Q4Bh_-NAOYZC3S1NgM9WjMtcGJrGpLzdKgD2z3lOs-L9ADXdEHW2lf2AXZQF5bdMSyku_RZ_YRSwU_1IT3jgr4UZQ5aBTGZYqV-lo3aSKoSucB8oaZaB9CTSpEGc9K9YV9p7KZrPamgaJ3IrycN81mr17rxJdbVMxtfno-9pU2eUzAu4FQfe6GFGyBeYZuDp-BtM-RqJ1vG4nuFWuV9BJEtjfQdA0bUDX5InsIqWi6ARENfgOs-wUxJVUbjQWPQfvDYpwVJrEWjXvjCgnYpyuXwoXUM9Oit7fNclhFh4JOML3njfQF/s1600/zambra3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1293" data-original-width="1600" height="161" src="https://1.bp.blogspot.com/-LV7ER5PJ3jE/XoNwxqJGC2I/AAAAAAAADKw/7xbvVUNAggktu0Ohz5y30g7JOJhyih3PwCEwYBhgLKs4DAMBZVoCcxT0x-xN21CKvEFrMPXrv9QIn6rfdCRMFrA3-w6dF2PCNMiFOcP80NuXfStr83XhGzpJMHfGo3zRilUwcGhnJKER2iyobj-CwDSU3JSYavjfED6FxYUSDvDh53AM4fSwaFzM2glzh20-s9WO3648uEg4daq8f79bPXEk8CK0BKCT5ralDb6Ci89m5M_bo7XFfZwS3nkXWO7RYUD1w5eQ-YfsRoGvUA32DcxwdHvrT0lDj3SQLCD5Jt_4PCJgjEPCQpOVOQVRB_CxYsjaFbY0APoANWjOOqD4JSCVrEPMQmifRRjuR3RvwS6Q4Bh_-NAOYZC3S1NgM9WjMtcGJrGpLzdKgD2z3lOs-L9ADXdEHW2lf2AXZQF5bdMSyku_RZ_YRSwU_1IT3jgr4UZQ5aBTGZYqV-lo3aSKoSucB8oaZaB9CTSpEGc9K9YV9p7KZrPamgaJ3IrycN81mr17rxJdbVMxtfno-9pU2eUzAu4FQfe6GFGyBeYZuDp-BtM-RqJ1vG4nuFWuV9BJEtjfQdA0bUDX5InsIqWi6ARENfgOs-wUxJVUbjQWPQfvDYpwVJrEWjXvjCgnYpyuXwoXUM9Oit7fNclhFh4JOML3njfQF/s200/zambra3.jpg" width="200" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>Messa + Zambra + Metide – 11.01.2019 – Il Contro (Prato)</b></span></div>
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<span style="font-family: Courier New, Courier, monospace;">A life seems to have passed. A Friday evening with friends, in a music club, for a concert. Now that all this is impossible, it seems something so far away in time and space. But what makes it truly distant is the uncertainty about the future. We don't know when all this will happen again. And we don't know what impact this crisis will have on the world of culture and entertainment. In order for independent music to find a refuge in which to express itself, while the storm rages and especially when it will be passed, those who believe in it must continue to support it. For places like Il Contro, and for Italian bands of absolute value such as those that played there on the first day of November, to survive, everyone's support is needed.</span></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>Metide</b> post apocalyptic music is perfect for these sad nostalgic reflections. Their atmospheric post metal, which literally made the walls of the club vibrate, has disruptive strength, but also melancholy calm. Following the paths traced by Isis, among distortion walls (perhaps at times a bit too saturated with basses) and arpeggios chasing each other between echoes and reverberations, among explosive growl and (maybe a little too much for my tastes) melodic clean vocals, the band from Bergamo evokes a storm and its effects in a vivid and involving way. When still no one imagined that this would have really hit us.</span></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>Zambra</b>, which I already had the opportunity to appreciate on the same stage, spit their noise rock made of rusty nails, dissonances, screams, disjointed grooves, pieces of crumbled concrete, hypnotic drones and voices that sound like a didjeridoo. Unpleasant sensations that hide an unconventional melodic core and energy. How to hide underground, in a dangerous fallout shelter, while outside the world collapses. Just what independent music will need to survive.</span></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>Messa</b> have got a more spiritual approach to the apocalypse. Re-read in hindsight, their concert is a requiem. Between gothic mists and flickering melodic lights that seem to come from the progressive dark sound of the 70s, Messa evoke spirits that in Italy seemed to have been buried for too many years. The doom catacombs are lit by free and fluid solos, on the borders of jazz, and by Sara amazing voice, a real torch capable of showing the way in the dark. Even if their music is not particularly enhanced by the acoustic of the venue tonight, Messa anyway confirm to be a unique pearl, to be jealously guarded. One of the most fascinating Italian bands of the last few years, which we must learn to value, as it happens abroad, where they deservedly find their place in the bill of the best festivals.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Remembering it today, that evening seems to come from another era. It is up to us to make it still relevant. And it is up to us to give it that support which was undoubtedly insufficient even at the time. It's up to us to go to that fallout shelter, or in that catacomb, where Italian independent rock is hidden waiting to return to the open, when the storm will be over. </span></div>
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<span style="font-family: Courier New, Courier, monospace;">[R.T.]</span></div>
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<a href="https://1.bp.blogspot.com/-ZPxN4kAbbyI/XoNxCjKOsdI/AAAAAAAADK0/R6u0SHLlzpUBwqxW_GJLAA0yyfQ23YfJwCLcBGAsYHQ/s1600/messa2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1392" data-original-width="1600" height="173" src="https://1.bp.blogspot.com/-ZPxN4kAbbyI/XoNxCjKOsdI/AAAAAAAADK0/R6u0SHLlzpUBwqxW_GJLAA0yyfQ23YfJwCLcBGAsYHQ/s200/messa2.jpg" width="200" /></a><a href="https://1.bp.blogspot.com/-5cRYPIDr5iw/XoNwoP4L3BI/AAAAAAAADKs/i6lPNzy85lM4brMalDJTgihjepLnU9yOwCEwYBhgLKs4DAMBZVoDZT1NMgToroi5gKE2vc8aUHDi8S2yqnWVWRt7liDhL5MiYh4ktchT2f1fh3ytKX5vPDLN1sVIcc_jRWMC2PtH1oJWy1Or7RGN3MbeZGli9gUiP8ZKdGYvgKrhW20YqjLGUbgh7-srkGmICzktjujJLloITrzAxRRRxsAU7XQhOkN1oa9IECuSRPy9fvvXdqk4JA6NkMwzqowxaJdDqz8wzu4pzaHCqngo1GkRsQ4LWGiTLxJomZ0QKlx6PUGnIDo3lbtikNS8JK4xKSviS03VhTsbo0qu8ezahKnOLCVBhhwwWM89I7gDlKuJSTFoB--Hf0-E1D-UZuBvxMgBNQ88nP63_thvFWWt_2_OypwFf_Ujd993-B5pxrSmcAkcJdBO_Fo0qAldmw87SD44lYROAAhwOCXsytyHbbH7fShapZmhz4u9v_CqTL2kBsPRmsdgu0eJjwDLse_LBZOINuCE-t1JAEt3yR-15bIAP-Fc04f2Ck1rdbKhBj7IClJAVOZo6WXJ1KZUEVo9r7qWeOqVfg79dZtxgEBq3l45hcf_YYgJFI95NaPcE6MBfNaYEF1UJRw-V2UgvvpTdTNTE4Ej7OW29e0JenabIMMzmjfQF/s1600/messa1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1297" data-original-width="1600" height="161" src="https://1.bp.blogspot.com/-5cRYPIDr5iw/XoNwoP4L3BI/AAAAAAAADKs/i6lPNzy85lM4brMalDJTgihjepLnU9yOwCEwYBhgLKs4DAMBZVoDZT1NMgToroi5gKE2vc8aUHDi8S2yqnWVWRt7liDhL5MiYh4ktchT2f1fh3ytKX5vPDLN1sVIcc_jRWMC2PtH1oJWy1Or7RGN3MbeZGli9gUiP8ZKdGYvgKrhW20YqjLGUbgh7-srkGmICzktjujJLloITrzAxRRRxsAU7XQhOkN1oa9IECuSRPy9fvvXdqk4JA6NkMwzqowxaJdDqz8wzu4pzaHCqngo1GkRsQ4LWGiTLxJomZ0QKlx6PUGnIDo3lbtikNS8JK4xKSviS03VhTsbo0qu8ezahKnOLCVBhhwwWM89I7gDlKuJSTFoB--Hf0-E1D-UZuBvxMgBNQ88nP63_thvFWWt_2_OypwFf_Ujd993-B5pxrSmcAkcJdBO_Fo0qAldmw87SD44lYROAAhwOCXsytyHbbH7fShapZmhz4u9v_CqTL2kBsPRmsdgu0eJjwDLse_LBZOINuCE-t1JAEt3yR-15bIAP-Fc04f2Ck1rdbKhBj7IClJAVOZo6WXJ1KZUEVo9r7qWeOqVfg79dZtxgEBq3l45hcf_YYgJFI95NaPcE6MBfNaYEF1UJRw-V2UgvvpTdTNTE4Ej7OW29e0JenabIMMzmjfQF/s200/messa1.jpg" width="200" /></a></div>
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Disco Volantehttp://www.blogger.com/profile/17764443995165351390noreply@blogger.com0tag:blogger.com,1999:blog-5800774727794268836.post-19801242313319550742020-03-16T10:05:00.000-07:002020-03-16T10:05:27.866-07:00Desertfest Antwerp 2019 - Day 3<div style="text-align: center;">
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<a href="https://1.bp.blogspot.com/-OGSZ54AMtmQ/Xm-wk2UbRpI/AAAAAAAADJU/DOkcDhzLg6I7lAkb_TofTxPNJkrDUfA8wCLcBGAsYHQ/s1600/monkey33.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1600" height="200" src="https://1.bp.blogspot.com/-OGSZ54AMtmQ/Xm-wk2UbRpI/AAAAAAAADJU/DOkcDhzLg6I7lAkb_TofTxPNJkrDUfA8wCLcBGAsYHQ/s200/monkey33.jpg" width="200" /></a><a href="https://1.bp.blogspot.com/-5iW-ixsAic8/Xm-wtqbzifI/AAAAAAAADJY/TAN79usJcEQ0Tl7boTFdxDlkyTpU-PDZgCLcBGAsYHQ/s1600/sleep.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1600" height="200" src="https://1.bp.blogspot.com/-5iW-ixsAic8/Xm-wtqbzifI/AAAAAAAADJY/TAN79usJcEQ0Tl7boTFdxDlkyTpU-PDZgCLcBGAsYHQ/s200/sleep.jpg" width="200" /></a></div>
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<span style="font-family: "courier new" , "courier" , monospace;"><b>[Sleep + Eyehategod + Monkey3 + Crypt Trip + Wolvennest + Sâver]</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">Uno degli aspetti più interessanti dei festival come il Desertfest è la possibilità di scoprire nuove band, magari non ancora uscite dall’ambito underground. Eppure per questo ultimo giorno la mia scelta ricade quasi sempre su band conosciute, e già viste dal vivo. L’effetto sorpresa me lo serbo solo per la band di apertura. Ma che sorpresa!</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">La musica dei norvegesi <b>Sâver</b> si abbatte come un’esplosione sul Canyon Stage. Una profondità di suono spaventosa trasforma la sala dal soffitto basso un vero e proprio tunnel verso un’altra dimensione, e ben presto mi ritrovo risucchiato dalla forza centripeta delle distorsioni. Le atmosfere evocate dal trio sono quelle post apocalittiche care agli Amenra, in cui urla strazianti e dissonanze acide assumono un potere catartico e liberatorio, anziché opprimente o disturbante. Sicuramente la scoperta più interessante di questa edizione!</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">Entro poi nel Desert Stage dove i <b>Wolvennest</b> hanno appena iniziato il loro rituale. Ma prima ancora di trovarmi dentro la grande sala, l’odore dell’incenso mi fa capire che la cerimonia officiata dalla band belga sarà in grande stile. Candelabri, teschi, e abiti di scena fanno da contorno alla loro musica cosmica, che pare una vera e propria messa funebre di un altro universo. La voce di Shazzula è eterea e ondeggia in mezzo alla tempesta generata dalle tre chitarre, sorta di post black metal psichedelico dall’incedere rallentato. Una cattedrale grandiosa come il palco principale amplifica la profondità della loro musica, anche se l’atmosfera criptica del loro <a href="http://discovolanteblog.blogspot.com/2016/10/desertfest-antwerp-day-2.html">concerto del 2016</a> nel Canyon Stage rimane imbattuta.</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">Per la prima volta in questa edizione, entro nel Vulture Stage per il concerto dei <b>Crypt Trip</b>. E ammetto che, in quattro edizioni, mai avevo visto la saletta piccola stracolma come stavolta. Come dimostra la band americana con il suo strepitoso concerto, l’hype è ampiamente giustificato. Senza l’apporto del chitarrista aggiuntivo alla slide guitar - che aveva reso il <a href="http://discovolanteblog.blogspot.com/2019/04/crypt-trip-23032019-cascina-bellaria.html">concerto di Cascina Bellaria</a> più morbido, evocando atmosfere degne dei grandi spazi americani - stasera la band (in trio) suona essenziale e diretta. Al galoppo lungo le praterie, senza troppe riflessioni romantiche di fronte ai tramonti che illuminano i canyon, e senza pause nei saloon che si incontrano lungo la strada. Con un’energia incontenibile che straborda da ogni fraseggio di chitarra e da ogni fill carambolesco di batteria, i Crypt Trip superano se stessi e regalano uno dei migliori concerti del festival! Anche la voce di Ryan Lee è caldissima e decisamente più robusta della volta precedente. Ma ciò che rende i Crypt Trip una perfetta band dal vivo è la batteria di Cameron Martin: un’intera mandria di cavalli allo stato brado che travolge qualsiasi cosa incontri, cambiando continuamente direzione senza mai perdere groove! Ginger Baker sarebbe stato fiero di lui, e della sua incredibile band, in grado di risollevare l’hard rock di fine anni '60 anche a mezzo secolo di distanza! Straordinari!</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">Dopo l’intimità del <a href="http://discovolanteblog.blogspot.com/2020/03/desertfest-antwerp-2019-day-2.html">concerto acustico</a> di ieri, oggi i <b>Monkey3</b> ci regalano uno spettacolo completamente diverso. Ciò che ieri era raccolto e gelosamente custodito, oggi esplode all’esterno. I colori caldi del giorno precedente diventano gelidi, come se in una familiare stanza con camino avessimo aperto la finestra per uscire fuori a guardare le stelle. Ci si sente più soli di fronte alla grandiosità elettrica di stasera che nella confidenziale versione acustica di ieri. E’ splendido perdersi in questa vastità strumentale, che genera arcobaleni sonori resi ancora più luminosi dalle proiezioni spaziali e dagli effetti di luce e fumo che avvolgono il palco più grande del Trix. I brani di <a href="http://discovolanteblog.blogspot.com/2019/12/monkey-3-sphere.html">Sphere</a> (ultimo disco della band) acquistano una grandiosità ancora più marcata di quanto avvenga nella versione in studio. Una fantascienza epica e maestosa che non disdegna enormi esplosioni di volume, tra i tanti passaggi melodici ed atmosferici. I Monkey 3 al massimo del loro splendore.</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">Se i Monkey 3 ci hanno offerto caramelle colorate per approdare su un qualche universo parallelo senza eccedere neanche troppo con la quantità di allucinogeni, gli <b>Eyehategod</b> ci offrono eroina ed eccedono eccome, catapultandoci nei più lerci e malati bassifondi di New Orleans. In mezzo alla sporcizia delle distorsioni, e agli aghi infetti di feedback, manca però qualcosa. Jimmy Bower non è sul palco. Si dice che un’operazione al braccio lo abbia costretto ad abbandonare il tour, ma al suo posto c’è un gradito ritorno: Brian Patton. Il chitarrista, che aveva abbandonato la band l’anno scorso, torna per infliggerci una serie di riff deviati e acidi, che perdono parte del grasso e dell’alcol sudato dalla chitarra di Bower, ma acquistano quella spiacevole sensazione di ferro che si sente in bocca dopo essersi spaccati un labbro. Più rugginosi e stridenti che mai, gli Eyehategod ci regalano un concerto di depravazione e sgradevolezza, grazie anche alla tossica ma, come sempre, impeccabile prestazione vocale di Mike Williams. Resta l’amarezza di non riuscire più a vederli in formazione completa con due chitarre (<a href="https://discovolanteblog.blogspot.com/2018/06/eyehategod-mild-10052018-oz-bologna.html">nel 2018</a> li vidi con Bower ma senza Patton). Del resto non si può pretendere che il caos e la malattia che regnano nella loro musica non si ripercuotano sulle loro vite. Incurabili!</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">Il gran finale del festival è nelle mani della band che, più di ogni altra, è in grado di rappresentare il passato e, al tempo stesso, il presente, della musica suonata in questi 3 giorni: gli <b>Sleep</b>. Per farci smaltire i postumi dell’overdose di feedback del concerto degli Eyehategod, la band di Matt Pike ci offre una nebbia di basse frequenze. Una nuvola di fumo estremamente densa, ma in grado di esprimere forza propulsiva, come dimostra l’iniziale Marijuanaut's Theme, il cui groove - inedito nello stagnante e sovraffollato ambiente sludge - è una sorta di vento caldo in grado di spostare anche le dune più gigantesche. In un Desert Stage stracolmo, gli Sleep riescono ad esprimere ciò che il <a href="https://discovolanteblog.blogspot.com/2020/02/sleep-16102019-tpo-bologna.html">concerto di Bologna</a> di quattro giorni prima aveva appena fatto intuire. La loro musica è un elefante che si muove a passo lento e pesante, ma che possiede elasticità ed agilità. Anche quando i riff sono rallentati più di quanto avvenga nelle versioni in studio, e affoghiamo nelle sabbie mobili delle distorsioni, è impossibile non percepire il movimento che scorre sotto di noi, probabilmente generato dagli enormi vermi delle sabbie di Dune (anche se parte del merito credo debba essere riconosciuto alla batteria di Jason Roeder, in realtà!). Suoni molto più potenti e avvolgenti e una band più carica (Al Cisneros canta in modo molto più cattivo, meno narcotizzato) rendono finalmente giustizia alla loro musica. Non credo che esista modo migliore per chiudere un festival stoner del riff di Dragonaut. Indimenticabile!</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">Dopo un finale di questo livello, attendo con ansia l’inizio del mio quinto Desertfest Antwerp! Certo che anche la prossima volta saprà stupirmi, facendomi conoscere nuove band e valorizzando quelle già ascoltate, ma soprattutto facendomi vivere tre giorni al di fuori del tempo e dello spazio, in una sorta di paradiso per appassionati di heavy psych!</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;"><b>Desertfest Antwerp 2019 - Day 3 [Sleep + Eyehategod + Monkey3 + Crypt Trip + Wolvennest + Sâver]</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">One of the most interesting aspects of festivals such as Desertfest is the chance to discover new bands, perhaps not yet emerged from the underground. Yet for this last day my choice almost always falls on known bands, already seen live. Today the only surprise effect for me is with the opening band. But what a surprise!</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">The music of the Norwegians <b>Sâver</b> hits like an explosion on the Canyon Stage. A frightening depth of sound transforms the low-ceilinged room into a real tunnel to another dimension, and soon I find myself sucked in by the centripetal force of the distortions. The atmospheres evoked by the trio are the post apocalyptic ones dear to Amenra, in which excruciating screams and acid dissonances assume a cathartic and liberating power, rather than an oppressive or disturbing one. Certainly the most interesting discovery of this edition!</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">Then I entered the Desert Stage where <b>Wolvennest</b> have just started their ritual. But even before being inside the great hall, the smell of incense makes me understand that the ceremony officiated by the Belgian band will be magnificent. Candelabras, skulls, and stage clothes surround their cosmic music, which looks like a real funeral mass from another universe. Shazzula's voice is ethereal and sways in the middle of the storm generated by the three guitars, a sort of psychedelic post black metal with a slowed pace. A cathedral as grand as the main stage amplifies the depth of their music, although the cryptic atmosphere of <a href="http://discovolanteblog.blogspot.com/2016/10/desertfest-antwerp-day-2.html">their 2016 concert</a> on the Canyon Stage remains undefeated.</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">For the first time in this edition, I enter the Vulture Stage for <b>Crypt Trip</b> concert. And I admit that, in four editions, I had never seen the small room full to the brim as this time. As the American band shows with its amazing concert, the hype is widely justified. Without the contribution of the additional guitarist with the slide guitar - which had made <a href="http://discovolanteblog.blogspot.com/2019/04/crypt-trip-23032019-cascina-bellaria.html">Cascina Bellaria concert</a> softer, evoking atmospheres worthy of the great American spaces - tonight the band (as a trio) sounds essential and direct. Galloping along the prairies, without too many romantic reflections in front of the sunsets illuminating the canyons, and without pauses in the saloons they meet along the way. With an irrepressible energy overflowing from every phrasing of guitar and from every funambulistic drum fill, Crypt Trip overcome themselves and play one of the best concerts of the festival! Ryan Lee's voice is also really warm and much more robust than the last time I saw them live. But what makes Crypt Trip a perfect live band is Cameron Martin's drum: an entire herd of wild horses overwhelming anything it encounters on its way, constantly changing direction without ever losing groove! Ginger Baker would have been proud of him, and his incredible band, able to revive late 60s hard rock even half a century later! Extraordinary!</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">After the intimacy of yesterday's <a href="http://discovolanteblog.blogspot.com/2020/03/desertfest-antwerp-2019-day-2.html">acoustic concert</a>, today <b>Monkey3</b> plays us a completely different show. What was collected and jealously guarded yesterday, today explodes outside. The warm colors of the previous day become now icy, as if in a familiar room with a fireplace we had opened the window to go outside to look at the stars. We feel more alone in front of tonight's electric grandeur than in yesterday's confidential acoustic version. It is amazing to get lost in this instrumental vastness, which generates sound rainbows made even brighter by the space video projections and the effects of light and smoke that envelop Trix largest stage. Songs from <a href="http://discovolanteblog.blogspot.com/2019/12/monkey-3-sphere.html">Sphere</a> (the latest album of the band) acquire an even more marked grandeur than in the studio version. An epic and majestic science fiction that does not mind huge explosions of volume, among the many melodic and atmospheric passages. Monkey 3 at their peak.</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">If Monkey 3 offered us coloured candies to land on some parallel universe without exceeding too much with the amount of hallucinogens, <b>Eyehategod</b> offer us heroin and they go too far, catapulting us into the dirtiest and sickest slums of New Orleans. In the midst of the dirt of the distortions and the feedback needles, something is missing. Jimmy Bower is not on stage. An arm operation is said to have forced him to abandon the tour, but in his place there is a welcome return: Brian Patton. The guitarist, who had left the band last year, returns to inflict on us a series of deviant acid riffs, which lose some of the fat and alcohol sweated by Bower's guitar, but acquire that unpleasant feeling of iron in mouth you usually feel after splitting a lip. More strident and rusty than ever, Eyehategod play a concert of depravity and unpleasantness, thanks also to Mike Williams' toxic but, as always, impeccable vocal performance. The bitterness of not being able to see them with their full lineup with two guitars remains (<a href="https://discovolanteblog.blogspot.com/2018/06/eyehategod-mild-10052018-oz-bologna.html">in 2018</a> I saw them with Bower, but without Patton). After all, it cannot be expected that the chaos and disease reigning in their music do not affect their lives. Incurable!</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">The grand finale of the festival is entrusted to the band which, more than any other, is able to represent the past and, at the same time, the present, of the music played in these 3 days: <b>Sleep</b>. To get rid of the aftermath of the feedback overdose of Eyehategod concert, Matt Pike's band offers us a fog of low frequencies. An extremely dense cloud of smoke, yet capable of expressing propulsive force, as evidenced by the initial Marijuanaut's Theme, whose groove - unprecedented in the stagnant and overcrowded sludge environment - is a sort of warm wind capable of moving even the most gigantic dunes. In a jam-packed Desert Stage, Sleep managed to express what their <a href="https://discovolanteblog.blogspot.com/2020/02/sleep-16102019-tpo-bologna.html">concert in Bologna</a> four days before had just hinted at. Their music is an elephant that moves slowly and heavily, but which has elasticity and agility. Even when riffs have slowed down more than their studio versions, and we drown in the shifting sands of the distortions, it is impossible not to perceive the movement that flows below us, probably generated by the huge worms of Dune sands (although part of the merit I think it must be recognized on Jason Roeder's drums, actually!). Much more powerful and enveloping sounds and a more motivated band (Al Cisneros sings much more evil and less narcotized) finally do justice to their music. I don't think there is a better way to close a stoner festival than Dragonaut riff. Unforgettable!</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">After a finale of such a high level, I look forward to the start of my fifth Desertfest Antwerp! Sure that also next time it will amaze me, introducing me to new bands and enhancing those ones I already listened to, but above all making me live three days out of time and space, in a sort of paradise for heavy psych fans!</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">[R.T.]</span><br />
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Disco Volantehttp://www.blogger.com/profile/17764443995165351390noreply@blogger.com0tag:blogger.com,1999:blog-5800774727794268836.post-88163214367496989092020-03-13T10:28:00.000-07:002020-03-13T10:28:33.905-07:00Desertfest Antwerp 2019 – Day 2<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Courier New, Courier, monospace;"><b>Desertfest Antwerp 2019 – Day 2</b></span></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>[Inter Arma + Ty Segall & Freedom Band + Monkey3 (special acoustic show) + Bongripper + Church of Misery + Fireball Ministry + Admiral Sir Cloudesley Shovell]</b></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Secondo giorno di festival. Inizio dei concerti: ore 15:00. Si preannuncia una lunga maratona ai limiti della resistenza fisica.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Per rompere il fiato inizio subito a mille con gli <b>Admiral Sir Cloudesley Shovell</b>, che incendiano il Canyon Stage con il loro hard rock che puzza di alcol, tabacco, benzina, canottiera dei Motorhead sudata e pantaloni a zampa che toccano terra e si inzuppano di birra. Grezzi e rozzi come sempre, stasera perdono parte dell’adrenalina per la quale sono un loro fan, a causa della defezione della batterista Serra Petale, sostituita all’ultimo minuto, per alcune date del tour, da Sammy Forway. Sammy si inserisce bene nella musica zozza e distorta dell’ammiraglio, ma inevitabilmente mancano la frenesia e la fantasia di Serra. Impossibile comunque non divertirsi ad un loro show: 40 minuti di proto metal che, grazie ad un brano nuovo, promette benissimo anche per il futuro.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Ancora sudato per il concerto dell’ammiraglio, entro nel Desert Stage come semplice turista per osservare un’attrazione del pianeta stoner: Scott Reeder. I <b>Fireball Ministry</b> - ovvero la sua band - suonano un hard rock piuttosto leggero con qualche melodia anni '90, ottimamente suonato ma non particolarmente coinvolgente. Ma la mia è pressoché una visita allo zoo per vedere con i miei occhi un animale esotico in via d’estinzione. Il bassista dei Kyuss (e, prima ancora, degli Obsessed) è uno spettacolo da osservare attentamente, per come suona il suo strumento in modo fisico e viscerale. Vederlo ondeggiare nascosto sotto i lunghi capelli biondi, a piedi scalzi, mentre colpisce con furia e amore il suo basso, riporta ad un’epoca che non c’è più, ma che questo festival mantiene ancora in vita, come in un'oasi naturale.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Selvatici, e senza alcuna nostalgia, suonano invece i <b>Church of Misery</b>. Ormai stabilizzatasi in formazione al 100% made in Japan, la band di Tatsu Mikami suona attualissima nonostante peschi a piene mani dai Black Sabbath e dalle progenie più fangose della band di Birmingham (Down in primis). Nessuna bestia in cattività potrebbe possedere un groove così malvagio e straripante di energia. Imbracciato così basso che quasi tocca terra, il basso di Mikami è gommoso e appiccicoso fino al punto da tirarsi dietro i riffoni sporchi e bastardi della chitarra di Yasuto Muraki. Le soglie di selvaggia depravazione sono portate ai massimi livelli dalla voce di Hiroyuki Takano, perfettamente a suo agio nel raccontare raccapriccianti storie di serial killer. L’humour nero giapponese è imbattibile!</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Sempre sul Desert Stage è poi il momento di immergersi nella nube di suono, fittissima, creata dai <b>Bongripper</b>. Come sempre mi avvicino con sospetto a tutte queste band sludge con suffisso/prefisso <i>–bong</i>, <i>weed-</i>, <i>dope-</i>. Ma poi - immancabilmente! - mi innamoro di loro, accorgendomi che non suonano tutte uguali come la scarsa fantasia del loro nome potrebbe far ipotizzare. La densissima nebbia tossica generata dai Bongripper, ad esempio, è fatta di lunghi brani strumentali più vicini al post metal apocalittico o al drone che allo stoner doom orgogliosamente strafatto. La loro musica non è una droga leggera per rendere assurda e surrealmente divertente una serata: è roba pesante, fatta di riff mastodontici e ipnotici che fanno perdere l’orientamento, mentre schegge rumorose si fanno breccia nel muro di suono. Ormai completamente rapito, mi allontano a malincuore dal loro concerto ad una quindicina di minuti dalla fine, con la promessa di rivederli presto. Ma quello che sta per accadere nel sotterraneo del Trix è un evento speciale al quale non posso mancare.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Sono infatti riuscito ad ottenere il braccialetto per il concerto speciale dei <b>Monkey3</b>, che si esibiscono per pochi intimi (40-50 persone al massimo) in versione acustica. Illuminata da luci soffuse e ricoperta da pannelli in legno, la saletta sotterranea ha la calda atmosfera della sala prove, o del salotto di casa di un amico. La band svizzera scherza con i presenti, e la sintonia che si crea nella sala, prima ancora che venga suonata la prima nota, è perfetta. Per circa 45 minuti la band ci offre una versione inedita della sua musica, per l’occasione arrangiata con chitarre acustiche suonate con lo slide, senza tastiera, e con una batteria che mostra il suo lato morbido e avvolgente. Un progressive rock sofisticato, ma mai lezioso, che trasforma la sua componente psichedelica, spaziale ed epica in un rock intimo, caldo, a tratti perfino introverso. Parte del pubblico seduta a terra, ad occhi chiusi, per assaporare una musica che è un vero e proprio regalo nei confronti di una manciata di amici, isolati dal resto dal mondo mentre fuori infuriano battaglie di chitarre distorte. Con il passare dei minuti la stanza da calda si fa rovente, e l’ossigeno inizia a scarseggiare. Durante il brano di chiusura (una rilettura di <i>Riders on the Storm</i> dei Doors) l’ambiente anaerobico inizia ad avere, su di me, effetti ai limiti dello psicoattivo, ed appena finito il concerto esco a prendere una boccata d’aria, augurandomi che l’anno prossimo questi concerti sotterranei siano resi maggiormente vivibili da un adeguato impianto di aerazione. Riprendo ossigeno, acqua e forze, con la consapevolezza di aver assistito ad un concerto splendido e assolutamente unico, per poterne affrontare un altro per il quale nutro aspettative molto alte.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Dopo una lunga pausa al fresco del giardino (quest’anno più fresco del solito, visto il clima decisamente autunnale di quest’edizione), sono pronto per <b>Ty Segall</b>. Ma per quanto potessi essere pronto, non avrei mai potuto immaginare un concerto esplosivo come questo! Il garage rock venato di psichedelia suonato dal californiano è infatti arrangiato con una potenza di suono che nessuno, nel corso dei tre giorni, riuscirà ad eguagliare. Un muro di fuzz nel quale le melodie agrodolci galleggiano come bolle, prima di scoppiare in arcobaleni di feedback e dissonanze, sotto una cascata di energia elettrica. Sono senza parole. Innamorato del recente disco dal vivo <i>Deforming Lobes</i> (in cui, come stasera, Ty è accompagnato dalla Freedom Band) ero preparato ad uno show elettrico ad alto voltaggio. Ma mai avrei immaginato che il rumore selvaggio e infuocato potesse valorizzare così a fondo le melodie sessantiane delle sue canzoni. I brani tratti da <i>Manipulator</i> (che occupano la seconda parte del concerto, quella più trascinante) sono manipolati e deformati come in preda ad un delirio, nel quale è difficile rimanere lucidi. Mentre infuria il pogo, e la gente vola al di là delle transenne, mi rendo conto di essere, anche io, completamente succube dell’energia travolgente liberata dalla band. Personalmente il concerto più esaltante del festival. Memorabile.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Dopo un concerto intenso come quello di Ty Segall, può esserci solo l’apocalisse. E quella ce la offrono gli <b>Inter Arma</b>, con il loro scontro titanico tra il fango spirituale dei Neurosis e quello materiale dei Morbid Angel, tra la polvere di stelle del rock progressivo e lo zolfo infernale del black metal più efferato. Giganteschi e inclassificabili, sono un buco nero nel quale le mie energie residue vengono risucchiate. Ma è bellissimo sentirsi svuotato da una violenza così catartica, che ti scaraventa nello spazio profondo alla velocità della luce, per poi farti scontrare con asteroidi pesanti come macigni, provenienti da tutte le direzioni. Attimi di pace melodica offrono respiro e ampliano il panorama verso galassie lontane, prima che tutto imploda sotto la furia cieca della band. Un bassista che sbava come un cane rabbioso e un cantante che ringhia, grugnisce, strepita e, perfino, si veste da crooner darkwave, mentre un batterista piovra si inerpica e arrovella nell’impossibile. Meravigliosi e devastanti, mi lasciano spossato, ma felice. Proprio come questa lunga giornata di concerti. </span></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>[Inter Arma + Ty Segall & Freedom Band + Monkey3 (special acoustic show) + Bongripper + Church of Misery + Fireball Ministry + Admiral Sir Cloudesley Shovell]</b></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Second day of festival. Concerts start at 3:00 pm. A long marathon on the edge of physical endurance is waiting for me.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">To break my breath, I start right away with the <b>Admiral Sir Cloudesley Shovell</b>, who set the Canyon Stage on fire with their hard rock smelling like alcohol, tobacco, gasoline, sweaty Motorhead tank top and bell-bottoms touching the ground and getting drenched in beer. Raw and rough as always, tonight they are losing some of the adrenaline I love, due to the defection of drummer Serra Petale, replaced at the last minute, for some tour dates, by Sammy Forway. Sammy fits well into the admiral's dirty and distorted music, but inevitably Serra's frenzy and creativity are lacking. Impossible, however, not to have fun at their show: 40 minutes of proto metal which, thanks to a new song, also promises very well for the future.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Still sweaty for the admiral's concert, I enter the Desert Stage as a simple tourist to observe an attraction of the stoner planet: Scott Reeder. <b>Fireball Ministry</b> - his band - play a fairly light hard rock with some 90s melody, well played but not particularly engaging. But mine is almost a visit to the zoo to see an endangered exotic animal with my own eyes. Kyuss (and, before, Obsessed) bassist is a show to be observed carefully, for how he plays his instrument in a physical and visceral way. Seeing him sway hidden under long blond hair, barefoot, while striking his bass with fury and love, takes us back to an era that no longer exists, but that this festival still keeps alive, as in a natural oasis.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Wild, and without any nostalgia, are <b>Church of Misery</b> instead. By now stabilized in a 100% made in Japan line-up, Tatsu Mikami band plays extremely modern despite fishing with full hands from Black Sabbath and the muddiest offspring of the band from Birmingham (Down above all). No captive beast could have such an evil and overflowing energy groove. Embraced so low that it almost touches the ground, Mikami's bass is gummy and sticky to the point of dragging with itself the dirty bastard riffs of Yasuto Muraki's guitar. The thresholds of wild depravity are brought to the highest levels by the voice of Hiroyuki Takano, perfectly at ease in telling gruesome serial killer stories. Japanese black humor is unbeatable!</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Still on Desert Stage it is then time to immerse ourselves in the dense cloud of sound created by <b>Bongrippers</b>. As always I suspiciously approach all these bands with the suffix/prefix <i>–bong</i>, <i>weed-</i>, <i>dope-</i>. But then - invariably! - I fall in love with them, realizing that they do not sound all the same as the lack of imagination of their name could suggest. The dense toxic fog generated by Bongrippers, for example, is made up of long instrumental songs much closer to apocalyptic post metal or drone than to the proudly doped up stoner doom. Their music is not a light drug to make an evening absurd and surreally fun: it is heavy stuff, made of huge and hypnotic riffs that make you lose your orientation, while noisy splinters break through the wall of sound. Completely in ecstasy, I walk away reluctantly from their concert about fifteen minutes before its end, with the promise to see them again soon. But what is going to happen in the basement of the Trix is a special event that I cannot miss.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Indeed, I managed to get the wristband for the special <b>Monkey3</b> concert, which perform an acoustic set for a few close friends (40-50 people maximum). Illuminated by soft lights and covered with wooden panels, the underground room has the warm atmosphere of the rehearsal room, or the living room of a friend's house. The Swiss band jokes around with those present, and the harmony in the hall is perfect even before the first note is played. For about 45 minutes the band offers us an unedited version of its music, especially arranged with acoustic guitars played with the slide, and with a drum that shows its soft and enveloping side. A sophisticated, yet never affected, progressive rock that transforms its psychedelic, spatial and epic component into an intimate, warm, sometimes even introverted, rock. Part of the audience sitting on the ground, with their eyes closed, to savour music that is a real gift to a handful of friends, isolated from the rest of the world while outside battles of distorted guitars rage. As the minutes pass, the hot room becomes scorching, and oxygen begins to run low. During the closing song (a reinterpretation of Doors' <i>Riders on the Storm</i>) the anaerobic environment starts to have almost psychoactive effects, and as soon as the concert is over I go out to get some fresh air, wishing that next year these underground concerts are made more livable thanks to an adequate ventilation system. I take back oxygen, water and strength, with the awareness of having attended an amazing and absolutely unique concert, to be able to face another one for which I have very high expectations.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">After a long break in the cool of the garden (this year cooler than usual, given the decidedly autumnal weather of this edition), I'm ready for <b>Ty Segall</b>. But no matter how ready I was, I could never have imagined an explosive concert like this! The garage rock tinged with psychedelia played by the Californian is in fact arranged with a sonic power that no one will be able to match in the course of the three days. A wall of fuzz in which bittersweet melodies float like bubbles, before bursting into rainbows of feedbacks and dissonances, under a cascade of electricity. I'm speechless. In love with the recent live album <i>Deforming Lobes</i> (with the Freedom Band, as tonight) I was prepared for a high voltage electric show. But never would I have imagined that the wild and fiery noise could enhance the 60s melodies of his songs so thoroughly. <i>Manipulator</i>'s songs (which occupy the second part of the concert, the most enthralling one) are worked and deformed as in a delusion, in which it is difficult to remain lucid. While mosh is raging, and people is flying beyond the barriers, I realize that I am completely dominated by the overwhelming energy released by the band. Personally the most exciting concert of the festival. Unforgettable.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">After an intense concert like Ty Segall one, there can only be an apocalypse. And that is offered by <b>Inter Arma</b>, with their titanic clash between Neurosis spiritual mud and Morbid Angel material mud, between the stardust of progressive rock and the infernal sulfur of the most heinous black metal. Gigantic and unclassifiable, they are a black hole in which my residual energies are sucked. But it's wonderful to feel emptied by such cathartic violence, which throws you into deep space at the speed of light, and then makes you collide with asteroids heavy like boulders, coming from all directions. Moments of melodic peace offer breath and widen the landscape towards distant galaxies, before everything implodes under the blind fury of the band. A bassist who drools like an angry dog and a singer who growls, grunts, screams and even dresses up as a darkwave crooner, while an octopus drummer climbs and struggles in the impossible. Wonderful and devastating, they leave me exhausted, but happy. Just like this long day of concerts.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">[R.T.]</span></div>
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Disco Volantehttp://www.blogger.com/profile/17764443995165351390noreply@blogger.com0tag:blogger.com,1999:blog-5800774727794268836.post-70086352329192652122020-03-11T10:21:00.000-07:002020-03-11T10:21:08.590-07:00Desertfest Antwerp 2019 - Day 1<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Courier New, Courier, monospace;"><b>Desertfest Antwerp 2019 – Day 1</b></span></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>[Sunnata + Zeal & Ardor + Truckfighters + Nebula + Monomyth]</b></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Il <b>Desertfest</b> non è un semplice fine settimana di concerti: è un’esperienza. E ogni anno è un’esperienza diversa. L’atmosfera è però sempre la stessa: piacevole e rilassata. Una comunità di amici che si riconosce in questa musica e in questo modo <i>loose</i> di viversela. Nuovi compagni di viaggio si aggiungono ai vecchi affezionati, e il mio quarto Desertfest Antwerp suona diverso anche per questo, oltre che per le scelte musicali degli organizzatori. Quest’anno il festival mostra infatti una forte componente sludge, e propone due headliner sorprendenti: Zeal & Ardor e Ty Segall, aprendo la sua proposta a musica spiccatamente sperimentale e alternativa, ancor più che in passato.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Il battesimo di quest’edizione è affidato ai <b>Monomyth</b>, sul Canyon Stage. Non poteva esserci inizio migliore. Il loro space rock progressivo è ipnotico e subito mi perdo nel labirinto costruito dai cinque olandesi. Il groove ossessivo, circolare e precisissimo di Sander Evers (già batterista degli storici 35007) è il battito cardiaco che dona vita ad una psichedelia strumentale dominata da echi profondi e arpeggi liquidi ma anche da riff robusti e rocciosi. Quattro lunghi pezzi (di cui due dal nuovo album <i>Orbis Quadrantis</i>) per 40 minuti di musica che, personalmente, si sarebbero potuti dilatare fino ad occupare l’intera giornata. Aspettavo il loro ritorno da quando li vidi al mio primo <a href="https://discovolanteblog.blogspot.com/2016/05/desertfest-london-2016-day-2.html">Desertfest (Londra 2016)</a> e - grazie anche alla loro componente krautrock - si confermano uno dei nomi più interessanti del genere, tra quelli attualmente in circolazione! Quest’anno il festival ha segnato un goal al primo minuto di gioco: band del giorno, istantaneamente!</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Entro nella sala principale (Desert Stage) a concerto dei <b>Nebula </b>appena iniziato. Ciò di cui mi accorgo immediatamente è che il gruppo di Eddie Glass sembra un altro rispetto al <a href="https://discovolanteblog.blogspot.com/2019/12/nebula-03102019-cage-livorno.html">concerto di Livorno</a> di pochi giorni prima. Carico a mille, esuberante, incontenibile, ma in grado di incanalare l’energia in canzoni dirette, compattando la sabbia del deserto in riffoni stoner, anziché soffiandola via in divagazioni soliste. Anche Glass appare più lucido, divertito e determinato, e finalmente riconosco la musica dei Nebula per quello che è: stoner rock trascinante con un retrogusto sporco e acido che sa tanto di anni '90. Un pezzo di storia, finalmente assaporato nel modo giusto.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Sullo stesso palco salgono poi i <b>Truckfighters</b>, per mostrarci un’interpretazione dello stoner rock completamente diversa. Privi di qualsivoglia componente aspra o polverosa, gli svedesi suonano una musica festaiola dominata da una chitarra carica di fuzz. Se musicalmente hanno un ottimo impatto (grazie ad un grande batterista), dal punto di vista vocale sono davvero fiacchi! Se nelle parti più dirette, cariche di groove e melodia (alla Queens of the Stone Age) sono molto divertenti, in quelle più cerebrali e progressive non sembrano troppo a fuoco. Impossibile comunque non divertirsi ad un loro concerto, grazie alla loro abilità come intrattenitori: il chitarrista salta e corre per tutto il concerto e scende a suonare in mezzo al pubblico, mentre il bassista chiude lo show facendo stage diving. Ma se nel complesso divertono moderatamente, come una festa a base di birra analcolica, è il pezzo di chiusura, <i>Desert Cruiser</i>, che fa impennare l’eccitazione. Anche perché non cantato da loro ma da tutto il pubblico, questo pezzo esalta come una cassa di birra trovata in cantina quando ormai tutto era dato per perduto! <i>Desert Cruiser</i> da sola vale tutto il concerto, dimostrando quanto i Truckfighters siano una band che con un singolo ha costruito la sua fama. Ma che singolo! Da bere tutto d’un fiato!</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Immagino la sorpresa, per il tradizionale pubblico del Desertfest, quando sono stati annunciati gli <b>Zeal & Ardor</b> come headliner. Il loro metal moderno e ipercompresso, con qualche occhiata nelle profondità infernali della fiamma nera nordeuropea, mischiato a cori e melodie gospel afroamericane, è una miscela buona per infiammare il pubblico del Roadburn, più che quello di questo festival più classicamente heavy psych. Scommetto ceh in molti avranno pensato ad uno scherzo di cattivo gusto. Certamente non io! Mi avvicino al palco con grandi aspettative, ma anche con un po’ di preoccupazione, data la natura della musica e del progetto (nato come one man band, e solo in seguito sviluppatosi in un gruppo vero e proprio). Quel che mi trovo di fronte è sorprendente! Sono proiettato a velocità stratosferica in una chiesa del profondo sud degli Stati Uniti nella quale i canti religiosi si trasformano in invocazioni demoniache. E’ tutto talmente assurdo che pare di essere ad un ritrovo di una setta di fondamentalisti sotto LSD. Il Tempio del Popolo di Jim Jones non avrebbe potuto avere colonna sonora migliore, soprattutto durante il massacro di Jonestown. Spaventoso e meraviglioso al tempo stesso, il concerto degli Z&A è un bad trip suonato perfettamente. Eh sì! Perché questo delirio schizofrenico stupisce per quanto suoni compatto e fluido. Potenza e tiro devastanti, ma anche capacità di costruire atmosfere affascinanti. La band suona chirurgica, intrecciando con nonchalance cori a tre voci, riuscendo perfino a valorizzare gli splendidi brani del <a href="https://discovolanteblog.blogspot.com/2017/07/zeal-ardor-devil-is-fine.html">primo disco</a>, parzialmente penalizzati dalla loro produzione estremamente lo-fi (eccezion fatta per <i>Come On Down</i>, il cui nuovo arrangiamento non mi convince al 100%). Manuel Gagneux in particolare è un cantante versatile e molto dotato, con una sensibilità unica, perfettamente a suo agio nelle trasformazioni alle quali lo costringe la sua musica. Una musica con una forte personalità, estremamente originale, che dal vivo si dimostra (e non era per niente scontato!) esaltante. Alla fine cosa c’è di più psichedelico di esser riusciti a portare i canti degli schiavi neri d’America nei freddi deserti di ghiaccio della Scandinavia? Concerto indimenticabile!</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Concludo la mia serata al Canyon Stage, ma sono davvero troppo stanco per riuscire ad apprezzare la musica dei polacchi <b>Sunnata</b>. Le loro litanie ipnotiche, guidate da spirali di basso ossessive, e alternate a muri di suono a metà tra lo sludge più atmosferico e le melodie oblique degli Alice in Chains, mostra grandi potenzialità che il mio fisico spossato non è però in grado di godersi. Per questo abbandono il palco prima di aver ascoltato metà concerto. Spero di avere l’occasione per ascoltarli come meritano, in futuro. Ora è il momento di recuperare le forze per la giornata di domani.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">[R.T.]</span></div>
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<a href="https://1.bp.blogspot.com/-CTiDe8U_zaU/XmkdNDFiscI/AAAAAAAADG0/I90Rg6VYxIMvoLr490iXsz7scS0fLJs-ACLcBGAsYHQ/s1600/zealandardor.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="581" data-original-width="774" height="150" src="https://1.bp.blogspot.com/-CTiDe8U_zaU/XmkdNDFiscI/AAAAAAAADG0/I90Rg6VYxIMvoLr490iXsz7scS0fLJs-ACLcBGAsYHQ/s200/zealandardor.jpeg" width="200" /></a><a href="https://1.bp.blogspot.com/-TSEmHsvuOks/XmkdRJyvPPI/AAAAAAAADG8/slaxhT5c7oI_T0FTInCilDgOEDNF0izvgCLcBGAsYHQ/s1600/monomyth2.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="581" data-original-width="774" height="150" src="https://1.bp.blogspot.com/-TSEmHsvuOks/XmkdRJyvPPI/AAAAAAAADG8/slaxhT5c7oI_T0FTInCilDgOEDNF0izvgCLcBGAsYHQ/s200/monomyth2.jpeg" width="200" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>Desertfest Antwerp 2019 – Day 1</b></span></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>[Sunnata + Zeal & Ardor + Truckfighters + Nebula + Monomyth]</b></span></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>Desertfest</b> is not simply a weekend of concerts: it is an experience. And every year is a different one. However, the atmosphere is always the same: pleasant and relaxed. A community of friends who recognize themselves in this music and in this loose way of living it. New travel companions add to the old ones, and my fourth Desertfest Antwerp sounds different also for this reason, and not only for the musical choices of the organizers. Indeed, this year the festival shows a strong sludge element, and offers two surprising headliners: Zeal & Ardor and Ty Segall, opening its proposal to distinctly experimental and alternative music, even more than in the past.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">The baptism of this edition is entrusted to <b>Monomyth</b>, on Canyon Stage. There could be no better start. Their progressive space rock is hypnotic and I immediately get lost in the labyrinth built by the five Dutchmen. Sander Evers (former drummer of the historians 35007) obsessive, circular and extremely precise groove is the heartbeat that gives life to an instrumental psychedelia dominated by deep echoes and liquid arpeggios, but also by robust rocky riffs. Four long tracks (including two from the latest <i>Orbis Quadrantis</i>) for 40 minutes of music that, personally, could have last the whole day. I had been waiting for their return since I saw them at my first <a href="https://discovolanteblog.blogspot.com/2016/05/desertfest-london-2016-day-2.html">Desertfest (London 2016)</a> and - thanks also to their krautrock component - they confirmed to be one of the most interesting current names of the genre! This year the festival scored a goal in the first minute: instantly band of the day!</span></div>
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<span style="font-family: Courier New, Courier, monospace;">I enter the main hall (Desert Stage) while <b>Nebula</b>'s concert has just begun. What I immediately notice is that Eddie Glass' band seems another compared to the one I listened to in <a href="https://discovolanteblog.blogspot.com/2019/12/nebula-03102019-cage-livorno.html">Livorno</a> just a few days before. Groovy, exuberant, irrepressible, but at the same time able to channel energy into direct songs, compacting the desert sand in stoner riffs, rather than blowing it away in solo digressions. Also Glass appears more focused, amused and determined, and I finally recognize Nebula's music for what it is: enthralling stoner rock with a dirty acid aftertaste so much reminiscent of the 90s. A piece of history, finally savoured in the right way.</span></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>Truckfighters</b> then get on the same stage to show us a completely different interpretation of stoner rock. Without any harsh or dusty element, the Swedes play party music dominated by a fuzzy guitar. If musically they have got an excellent impact (thanks to a great drummer), from a vocal point of view they are really weak! If in the most direct parts, full of groove and melody (in Queens of the Stone Age style) they are really funny, in the more cerebral and progressive ones they don't seem too focused. However, it is impossible not to have fun during their gig, because they are great entertainers: the guitarist jumps and runs during the whole concert and gets off the stage to play among the audience, while the bassist closes the show stage diving. But if overall they entertain moderately, like a non-alcoholic beer party, it is the closing song, <i>Desert Cruiser</i>, that makes the excitement soar. Also because not sung by them but by the whole audience, this track exalts like a crate of beer found in the cellar when everything was now lost! <i>Desert Cruiser</i> alone is worth the whole concert, demonstrating how Truckfighters are a band that has built its fame with a single. But what a single! To be drunk in one breath!</span></div>
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<span style="font-family: Courier New, Courier, monospace;">I imagine the surprise, for the traditional Desertfest audience, when <b>Zeal & Ardor</b> were announced as headliners. Their modern, hypercompressed metal, with a few glances into the infernal depths of the North European black flame, mixed with African American gospel choirs and melodies, is a good mixture to inflame the audience of Roadburn, more than that of this more classically heavy psych festival. I bet that many have thought of a bad taste joke. Certainly not me. I approach the stage with great expectations, but also with a little concern, given the nature of the music and of the project (born as a one man band, and only later developed into a real combo). What I face is surprising! I am projected at stratospheric speed into a church in the deep south of the United States where religious songs are transformed into demonic invocations. It is all so absurd that it seems to be a meeting place for a sect of fundamentalists under the effect of LSD. The Jim Jones People's Temple couldn't have had a better soundtrack, especially during the Jonestown massacre. Frightening and wonderful at the same time, the Z&A concert is a perfectly played bad trip. Oh yes! Because this schizophrenic frenzy amazes for how compact and fluid it sounds. Devastating power and groove, but also ability to build fascinating atmospheres. The band plays surgically, nonchalantly interweaving three-part choruses, even managing to enhance the splendid tracks of the <a href="https://discovolanteblog.blogspot.com/2017/07/zeal-ardor-devil-is-fine.html">first album</a>, partially penalized by their extremely lo-fi production (except for <i>Come On Down</i>, whose new arrangement does not convince me 100%). Manuel Gagneux in particular is a versatile and really talented singer, with a unique sensitivity, perfectly at ease in the transformations to which his music compels him. A music with a strong personality, extremely original, that proves to be exciting also as a live act (and it was not at all obvious!). In the end, what could be more psychedelic than having managed to bring the songs of the United States black slaves into the cold ice deserts of Scandinavia? Unforgettable concert!</span></div>
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<span style="font-family: Courier New, Courier, monospace;">I end my evening at Canyon Stage, but I'm really too tired to be able to appreciate the music of Polish <b>Sunnata</b>. Their hypnotic litanies, guided by obsessive bass spirals, and alternated with walls of sound halfway between atmospheric sludge and Alice In Chains oblique melodies, shows a great potential that my exhausted body is not able to enjoy. For this reason I leave the stage before I listened to half their concert. I hope to have the chance to listen to them as they deserve in the future. Now it is time to recover my energies for tomorrow.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">[R.T.]</span></div>
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