L’Ira del Baccano Stream Si Non Sedes Is: Live MMVII Reissue in Full

Posted in audiObelisk on November 9th, 2018 by JJ Koczan

lira del baccano circa 2007

You know how it is. A lot of bands make a show of recording live in the studio in an attempt to capture their natural sound or give their listeners some glimpse of what they sound like on stage. Nothing against it. In making their first full-length, L’Ira del Baccano went one further and just actually made a live album. Si Non Sedes Is: Live MMVII celebrates its 11th anniversary in 2018 with a reissue/remaster via Subsound Records that’s pressed to CD and gatefold 2LP to make it physically available for the first time. And indeed, it’s the Roma-based instrumentalist outfit, as they were 11 years ago, showing off progressive heavy rock textures in a stage setting. I don’t know what methods were used to capture it, how many mics, etc., but especially without vocals, there isn’t much ‘tell’ to give it away as live on stage as opposed to live in the studio — which isn’t to take away from the energy of the four-piece’s delivery, just to note the overarching clarity of the recording — and if it were a bootleg you were finding in a bin at some record show, it would have a little round sticker on the front cover (which would probably be a huge pain in the ass to peel off) grading the sound as A+. And so it is.

Then comprised of guitarists Alessandro “Drughito” Santori (also engineering) and Roberto “Malerba” (also synth, lead, noise), bassist/synthesist Massimo “Miss” Siravo and Alessandro “Fred” Salvi on drums, L’Ira del Baccano impress quickly on the nine-minute opener “Doomdance,” which unfurls with a patience and instrumental chemistry that undercuts the idea of just how new they were at the time. The subsequent “Sussuri di Nascita Celeste/Grateful to Jerry” dips into metal-tone riffing and proggy synth work at the same time, creating an interesting dynamic that will continue to be a theme. Their turns are sharp, theirlira del baccano si non sedes is live mmvii stops precise, and their material fluid. They roll through the early going of “875” and into an effects-topped jam in its midsection smoothly, and move into more straightforward riff-led fare on “Don Bastiano” before rounding out the original album with the 18-minute “Tempus Inane Flago Requiem Spatiumque Furori,” which bookends a sprawling cosmic exploration with crunchier riffing and caps Si Non Sedes Is — caps the set, really — with an apex that stands up to both its own breadth and that of the entire outing before it.

Two bonus tracks follow, one of which builds on “Sussuri di Nascita Celeste/Grateful to Jerry” for another live jam, and one of which is a remix of “Doomdance,” and with those, that pushes the reissue to a comprehensive seven tracks/71 minutes. That’s well into the kind of runtime I’d generally consider unmanageable, and indeed, it’s a good chunk of time, but after 11 years and this being the first physical pressing one can hardly hold wanting to make the most of it against the L’Ira del Baccano, whose work proves immersive and full in its spaces and tones and able to conjure a variety of moods and vibes in a sans-pretense vision of heavy that runs between prog metal, heavy rock and psych without giving itself over entirely to any of them. I’ll admit, I was kind of hoping “Doomdance (Apocalypse ’80 Mix)” would be new wave, and it’s not, but a synthy redux all the same makes it easy enough to get over that.

There must have been a moment at which the members of L’Ira del Baccano were talking about recording their debut album and they made the decision to put out Si Non Sedes Is: Live MVII instead. Obviously they knew they’d recorded the show, but I have no idea if they knew it would be their album at the time or if that decision was made after. That’s a brave choice for a new band to make, essentially putting the rawest form of their work out as their opening statement. Some bands never do a live record because they’d rather not let their audience experience their live sound outside the context of an actual show. L’Ira del Baccano make the right call at that point and have continued to build stylistically on the parameters these songs put forth. In other words, it’s worth digging into the record, both on its own and in context of what the band have gone on to do with their sound. Fortunate then that it’s streaming in full below.

L’Ira del Baccano‘s Si Non Sedes Is: Live MVII is officially released on Nov. 16 through Subsound Records. You’ll find it on the player here, and Santori offers some comment after about the record and this release in particular.

Please enjoy:

Alessandro “Drughito” Santori on Si Non Sedes Is: Live MMVII:

I am very glad to see finally a proper release for the recording that signed for us a new “birth” as band back in 2007. Si non Sedes iS was recorded during the first two concerts in three years for LOOSIN’ o ‘ FREQUENCIES, a name we had since 1996, and those were also the very first “officially instrumental” gigs for us. We actually decided to change the name of the band to L’IRA DEL BACCANO only after the mix was ready and some friends suggested to open a page on MySpace. We are still very proud of these recordings and we definitely have to say thank you to some people we “met” on the web back in those days, people who showed interest for our vision and musical path; all things that gave us the confidence to proceed on our journey as musicians.

L’IRA DEL BACCANO & SUBSOUND RECORDS presents the FIRST TIME EVER official release in Double Gatefold Vinyl and DIgipak of the band instrumental first album from 2007 ” SI NON SEDES IS…LIVE MMVII(originally and until today only available in digital download)

After the last two critically acclaimed studio albums : “TERRA 42 (2014)” & ” PARADOX HOURGLASS (2017)” The Doomdelic Instrumental Space Rockers L’IRA DEL BACCANO decided that was time for their very first instrumental effort to have a physical release after 11 years. All these 2018 versions had Spectral & Balance correction by Pisi Mastering Studio.

Lineup:
Alessandro “Drughito” Santori – Guitars, Sound Eng., Structures, Themes, Production
Roberto “Malerba” – All FX Guitars. Leads, Noises, Synths
Alessandro “Fred” Salvi – Drums
Massimo “Miss” Siravo – Bass, Synth

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L’Ira del Baccano Announce Si Non Sedes Is: Live MMVII Reissue out Nov. 16

Posted in Whathaveyou on October 2nd, 2018 by JJ Koczan

lira del baccano

For those disinclined toward Roman numerals, MMVII is 2007. For those disinclined toward Latin, the title Si Non Sedes Is is something about ‘if you’re not sitting’ or something like that. Put the two together and you get Si Non Sedes Is: Live MMVII, the until-now digital-only debut from Rome-based heavy rockers L’Ira del Baccano, which is set for release as a CD and 2LP this November through Subsound Records. The trip back to their origins follows the four-piece’s 2017 album, Paradox Hourglass (review here), which came out on the same label, and can be streamed in its instrumentalist entirety at the bottom of this post. There are bonus tracks with the LP editions however, including an “’80s mix” of the song “Doomdance Apocalypse,” the delightful weirdness of which previously featured on a 2010 split with the awesomely-named Watermelon Time.

L’Ira del Baccano have some live dates booked in order to promote the reissue. All info was posted as follows:

lira del baccano si non sedes is live mmvii

L’IRA DEL BACCANO & Subsound Records are proud to announce the first time release of the band instrumental first album from 2007:” SI NON SEDES IS…LIVE MMVII” (until today only available in digital download)

*****PRE SALES STARTS : OCTOBER 5th *****
*****OFFICIAL RELEASE : NOVEMBER 16th *****

-Available in : DIGIPAK / DOUBLE GATEFOLD “Black” / DOUBLE GATEFOLD “Special” coloured VINYL / DIGITAL
( Both Vinyl versions will have 2 Bonus Tracks for a total of +16:38 minutes!!!)

-The album was recorded live in concert when the band’s name was still LOOSIN’o’FREQUENCIES (formed in 1996,with a mcd produced by the Guru of Doom Paul Chain) and marked the official change of the band in “instrumental”. The Italians then decided to change name after the mix was ready and right before opening their “MySpace” page. During 2008 the album started to circulate in the underground with enthusiastic reviews.

-Tracklist ( tracks 6 & 7 are VINYL ONLY Bonus ):
01 Doomdance -09:21
02 Sussurri Di Nascita Celeste/Grateful to Jerry -8:29
03 875 -10:51
04 Don Bastiano -7:42
05 Tempus Inane Flago Requiem Spatiumque Furori -18:32
06 Live Jam on “Sussurri Theme* 7.55 (INEDIT VINYL ONLY bonus track) -7:55
07 Doomdance Apocalypse ’80 mix (VINYL ONLY bonus track;from ” Split 2010 ” digital ep) -8:43

Artwork by Fabio Listranii
Produced & Mixed by Alessandro Drughito Santori

SI NON SEDES…TOUR 2018 :
-07 Nov IT TBA
-08 Nov WÜRZBURG – IMMERHIN
-09 Nov MAGDEBURG – TONNE27
-10 Nov BERLIN – ZUKUNFTt AM OSTKREUZ ( w/ Samsara Blues Experiment)
-11 Nov OSNABRUCK – DIRTY+DANCING
-12 Nov HAMBURG – HAFENKLANG (w/ Samsara Blues Experiment)
-13 Nov WEIMAR – C-KELLER
-14 Nov NUREMBERG – Z-BAU
-15 Nov STRASBOURG – L’ELASTIC BAR (w/ Bull Terrier)
-16 Nov FREIBURG – WHITE RABBIT
-17 Nov SALZBURG – ROCKHOUSE

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L’Ira del Baccano, Si Non Sedes Is: Live MMVII (2008)

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Review & Full Album Stream: Mr. Bison, Holy Oak

Posted in audiObelisk, Reviews on May 18th, 2018 by JJ Koczan

mr bison holy oak

[Click here to stream Holy Oak by Mr. Bison in full. Album is out May 25 on Subsound Records.]

The number of dudes in Mr. Bison? Three. The number of those same dudes named Matteo? Three. The number album their new one, Holy Oak is in their discography? Three. The number of bassists who appear on that same record? None. Number of times you’re going to be responsible for knowing these numbers? Zero, because by the time the Pisa-based sans-bass three-piece of guitarist/vocalists Matteo Barsacchi, Matteo Sciocchetto and drummer/vocalist Matteo D’Ignazi are about two songs in — to the total nine; because numbers — the sweet fuzz, classic style fuzz and periodic excursions into psychedelic space are going to melt the math away anyhow.

Mr. Bison, who release Holy Oak as their second offering through Subsound Records behind 2016’s Asteroid, hone in on the pivotal spirit of modern desert rock. There’s some element of push in songs like “Heavy Rain,” but they’re just as likely to spend their time spreading out an open atmosphere. Consider European acts of lore like Sgt. Sunshine and Lowrider, fellow Italians OJM, or American bands like Solace for a cut like “Earth Breath,” or even up and coming practitioners like Steak. Mr. Bison belong to this category of purveyors. Their third album is mature and aware of the moves it’s making between louder, more driving material and its more subdued places, and the Matteos effectively play different sides off each other both within songs — the 7:30 centerpiece title-track walks by and waves — and in the transition between them as well.

Like many acts who operate without a bass, their claim is that the guitar tones make up for it. And true enough, any band can tune lower to make up for the lacking thicker strings if they’re so inclined, but to think of the legacy of great heavy rock loadbearers — from Geezer Butler through Scott Reeder and so on — and it would seem to be not even so much the tone as the dynamic they’re denying themselves. They compensate by weaving different guitar parts in and around each other, and in so doing craft something that, admittedly, is more their own than it would be if they were a simple guitar/bass/drum configuration. Some of it is a familiar lead/rhythm dynamic, but “The Bark” operates tonally like a battle of dueling Hendrixes, and the results make for a legitimately exciting listen.

This is something that a band three records in can do much more effectively than a band making their debut, but it’s admirable nonetheless, and from the mid-paced groove of opener “Roots” and the blown-out shuffle swagger of “Sacred Deal” — there may not be any bass, but I’d swear I hear an organ — onward, Mr. Bison retain fervent control over their transitions and the fluidity of Holy Oak as a whole. At 46 minutes, it does not feel like a minor undertaking, but neither is it redundant, as “Heavy Rain” breathes ambient life into the initial salvo and “Earth Breath” contrasts with more straightforward edge and riffing. The appropriate metaphor would be to say these two sides are doing battle, but it’s more like they’re both fighting toward the same end than fighting each other. In the post-Black Rainbows sphere of Italian heavy, Mr. Bison make a place for themselves alongside acts like Tuna de Tierra, who take the established tenets of various forms of heavy and pull them together in varying balances in order to best serve their songwriting.

True, one could easily argue that “Red Sun,” from name, to riff, to its forward punkish rhythm, is probably direct Kyuss tribute, but consider that it arrives after the Golden Void-esque “The Bark” and the boogie-laden “The Wave” and the context becomes a bit broader than a band from Italy trying to sound like a band from California. It also precedes seven-minute closer “Beyond the Edge,” and where one might expect Mr. Bison to simply switch back into the psychedelia-as-primary modus of the earlier title-track, they instead hold to a blend of funkified start-stop fuzz and scorching lead, a gritty, Radio Moscow-style blues vocal laid overtop that leads to an extended but still mostly earthbound jam.

That is to say, the band doesn’t just have a couple of set methods of songwriting and swap one out for the other. Of course this works to the benefit overall of Holy Oak, which caps with a repetitive and duly hypnotic progression while also bringing back vocals to keep the song grounded even at its most “out there” moment, which is a pretty fair analog to the entirety of the record. I’m not sure I’d call myself 100 percent on board with the zero-bass philosophy, but there’s no question that for Mr. Bison, the numbers add up. Their sound is fluid and engaging and their songwriting is varied enough that indeed they leave nothing wanting for dynamic. Many elements of what they do will be familiar to those experienced with the genre, but it’s in how they’re melded that Mr. Bison make their statement, and they make it loudly.

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Review & Full Album Stream: L’Ira del Baccano, Paradox Hourglass

Posted in audiObelisk, Reviews on April 17th, 2017 by JJ Koczan

l'ira del baccano paradox hourglass

[Click play above to stream L’Ira del Baccano’s Paradox Hourglass in its entirety. Album is out now on Subsound Records.]

Roman heavy instrumentalists L’Ira del Baccano made their studio debut in 2014 with Terra 42 (review here), as a follow-up to their summer-2013 live offering Si Non Sedes iS …LIVE. It’s important to keep in mind as one makes their way through their second studio long-player, Paradox Hourglass, that the band’s roots are in playing live, and that when it came to what they wanted to put out into the world first, it was a live album rather than something more polished. Issued through Subsound RecordsParadox Hourglass is that something more polished, but it still maintains its core of live performance beneath its progressive overtones, and across its evenly-split two sides, four tracks and 39 minutes, guitarist Alessandro “Drughito” Santori, guitarist/synthesist Roberto Malerba, bassist Ivan Contini Bacchisio and drummer Sandro “Fred” Salvi don’t sacrifice one sensibility in emphasis of the other.

While Paradox Hourglass brings forward a proggier mindset than did Terra 42 — something the band credits in part to a Rush influence and I’m not inclined to argue — it keeps its tonal edge and strips away nearly 20 full minutes of runtime, so that the material is not only vinyl-ready, but all the more efficient in making its stylistic point known without lingering. That in itself isn’t to be understated as a recognized step forward for the band, as it shows an editorial mindset developing alongside these progressive tendencies, which is something all the more crucial for a group whose sound is only growing richer.

As to the origins of the title, it’s obviously harder to say without any lyrics to work from, but it’s another evocative element from L’Ira del Baccano, which seems to find its core in the partnership between Santori and Malerba. The two weave layers of riffs and synth and effects fluidly around each other throughout Paradox Hourglass, and while ultimately there isn’t much about the record that one might consider a paradox — that is to say, they’re not making it hard to figure out where they’re coming from or purposefully melding together disparate sonic elements — the new stage their approach has reached is plain to hear from the start of 11-minute opener. And, if we’re looking for clues as to where SantoriMalerbaBacchisio and Salvi are coming from this time around, it is telling that the first piece of the two-parter title-track is subtitled “L’Ira del Baccano,” eponymous to the band itself.

Across its span and that of the complementary eight-minute “Paradox Hourglass – Part 2: No Razor for Occam,” the band touch on psychedelic melody without losing their real-world footing tonally or their underlying crunch of riff. Salvi‘s drums hold together the proceedings as they no doubt did the jams that birthed them, but whether it’s the departure-to-drift in the second half of “Paradox Hourglass – Part 1: L’Ira del Baccano” or the guitar scale-work fleshed out by layers of keys and effects swirl in the follow-up, a sense of control remains prevalent in their approach. The digital version of Paradox Hourglass presents a 19:42 bonus track that brings these two pieces together as one entirety, and while there’s still an audible break between one part and the next, hearing them in that form only highlights the nuance developing in L’Ira del Baccano‘s sound and the manner in which the band is drawing from multiple sides as they stomp and roll their way through movements tied to each other through rhythmic flow and conceptual consistency.

l'ira del baccano

Side B brings a like-minded pair of tracks, also 11 and eight minutes, respectively, that push the aesthetic somewhat further out. “Abilene” leads off with a bit more patience than “Paradox Hourglass” and more of a psychedelic flourish to its beginnings, and unfolds to a blend of desert-style riffing and the progressive course-setting that the first half of the record had as its foundation — the notion that L’Ira del Baccano know where they’re headed even if they’re keeping it a surprise from their audience. They settle into a mid-paced chug at about two minutes into “Abilene” but have more spaciousness to offer from there, and the theremin-infused (or theremin-sounding, anyhow) reaches in which they wind up are perhaps the most satisfying stretch Paradox Hourglass has to offer in terms of immersing the listener in a hypnotic flow, pushing gradually toward an apex that brings together both sides — the breadth and the crunch — on the way to a clean, purposeful finish.

At 8:06, “The Blind Phoenix Rises” ends out with no less clarity of intent than its predecessor, synth and guitar once more working together to cast an impression both psychedelic and progressive. At about 4:45, there’s a turn toward straightforward riffing, and it seems like L’Ira del Baccano made a conscious decision at that point to let loose a little bit in the studio. No complaints. The uptick in tempo from the first half of the track is welcome and though to close out they fall back into the “chorus,” such as it is, the moment of airing out a more rocking impulse is welcome as an answer to the riff that started “Paradox Hourglass – Part 1: L’Ira del Baccano” and makes as fitting an end as one could ask.

They stretch a couple seconds of silence to get over the eight-minute mark, but with the clear drive toward symmetry, one is inclined to give that ground in service to the presentation of the album as a whole. With Paradox HourglassL’Ira del Baccano are less marking their arrival than they are establishing the path they want to take as a group, but the prevailing vibe toward direction is something of a landmark for them nonetheless, even if that landmark is in the shape of an arrow pointing toward the next one. I still won’t venture a guess as to what the overarching paradox here is, though, because from where I sit, it sure seems like L’Ira del Baccano have it all figured out as to who they want to be and what they want to accomplish as a band.

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L’Ira del Baccano to Release Paradox Hourglass April 14; Preorders Available

Posted in Whathaveyou on March 20th, 2017 by JJ Koczan

l'ira del baccano

Italian space metal instrumentalists L’Ira del Baccano will issue their new album, Paradox Hourglass, via Subsound Records on April 14. It’s listed below as their third full-length, but my count has it as their second behind 2014’s Terra 42 (review here) — entirely possible and indeed likely I’m mistaken; the band did have a live release and a split before the studio offering, if one goes by their Bandcamp discography — but either way, preorders are up now for the new one, and after Terra 42‘s blend of cosmic impulses and crunchier, solidified riffing, it seems like one to keep an eye out for.

Comprised of four likely extended-length tracks, Paradox Hourglass will be on vinyl and CD, as the PR wire affirms:

l'ira del baccano paradox hourglass

Subsound Records proudly unveil details and pre-orders for the doomdelic instrumental heavy rockers L’IRA DEL BACCANO 3rd album “PARADOX HOURGLASS”

The album will be released on 14th April, distributed by Goodfellas in Italy, Cargo Records Germany, on 5th May via CODE 7 Distribution / Plastic Head in UK and Cobraside Distribution Inc. in USA.

Available in Digipack Cd, 180 gr Coloured Vinyl and Digital

PRE-ORDERS Available: http://subsoundrecords.bigcartel.com/artist/l-ira-del-baccano

2 years and half after the critically acclaimed “TERRA 42″ the italian band returns with ” PARADOX HOURGLASS ” and continue the instrumental journey through different songs structures while melting in their unique style and sound vibes going from the doom influences of Black Sabbath with the 60’s/70’s psychedelia of Pink Floyd and Hawkwind, to heavy-prog vibes of bands like Rush, as well as the performing freedom of jam bands as The Grateful Dead.

The album has been produced in Rome at Kick Recording Studio by Marco Mastrobuono and the band mastermind Alessandro Drughito Santori. Mixed/Mastered by Mastrobuono & Matteo Kutso Gabbianelli

“PARADOX HOURGLASS” signs again the collaboration and link between the band and the Italian artist Fabio Listrani, who also did all the marvelous artwork for the previous album Terra42.

This time Listrani translate the band music and album main theme, paradoxes, in his fascination for tarots and symbolism..

Tracklist:
– Paradox Hourglass part 1 (L’Ira Del Baccano)
– Paradox Hourglass part 2 (No Razor For Occam)
– Abilene (The trip to)
– The Blind Phoenix Rises

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L’Ira del Baccano, Terra 42 (2014)

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Hifiklub vs. Fatso Jetson & Gary Arce, Double Quartet Serie Vol. 1

Posted in audiObelisk, Reviews on September 9th, 2016 by JJ Koczan

hifiklub-vs-fatso-jetson-gary-arce-double-quartet-serie-vol-1-700

[Click play above to stream Double Quartet Serie Vol. 1 by Hifiklub vs. Fatso Jetson & Gary Arce in full. Album is out next month on Subsound Records.]

In 1960, saxophonist and composer Ornette Coleman recorded Free Jazz with what was deemed a “double quartet,” including two trumpets, two basses, himself, a clarinet, and two drummers, each quartet playing in one channel. Roman label Subsound Records would seem to be following that blueprint with the beginning of its own Double Quartet Serie Volume 1 that pits Californian desert rock mainstays Fatso Jetson and Gary Arce of Yawning Man in right channel and Toulon, France-based experimentalists Hifiklub.

The project, the connections to jazz for which can be found through the general spirit of improvisational exploration more than swapping solos or anything like that, was recorded in Coxinhell Studio in Southern France. Fatso Jetson were working with the lineup of guitarist/vocalist Mario Lalli, bassist Dino von Lalli and drummer Tony Tornay on a European tour with Yawning Man, and Hifiklub — who in the past have collaborated with Mike Watt, Lee Renaldo of Sonic Youth, and Alain Johannes, who mixed and mastered this release, are comprised of bassist/vocalist Régis Laugier, guitarist Nicolas Morcillo, art-and-stuff-ist Arnaud Maguet and drummer Pascal Abbatucci Julien.

Eight dudes, in a room together, making their way through seven tracks/37:41 of improv vibing, it’s no wonder one can hear bits and pieces of conversation taking place throughout, though that might also be samples playing through the songs. With such a wide-open sonic range, it’s important to acknowledge any number of possibilities for what could be happening at any given moment.

Goes without saying that Hifiklub vs. Fatso Jetson + Gary Arce, as a whole, eight-piece unit, are tailor-made for headphones. Any single one of those entities would be headphone-worthy on their own, and together, their sounds coming through different channels on the vast “A la Fin Je l’Espère Calme,” that’s even more the case. The album glides through a suitably varied scope of moods, from the rolling, massive-in-the-low-end march of side A closer “Glorious Whores” — also the longest cut at 8:02 — to the noise-wash build of “Safe in Pieces,” which is almost straightforward compared to some of what’s going on.

That’s not to say there isn’t a sense of structure throughout. Beginning with “Tenderloin Vignette” (video premiere here), Double Quartet Serie Vol. 1 pairs longer tracks with shorter ones. It’s not that “Tenderloin Vignette” is a rocker and the subsequent “Un Gribouillis De La Beauté” (3:10) an interlude — both keep a consistent focus on ambience — but it seems more about different jams working in different ways depending on which element is in the lead.

fatso-jetson-hifiklub

“Tenderloin Vignette” follows the guitar and “Un Gribouillis De La Beauté” presents a more sparse, key-led wash that gets immediately contrasted by the double-drum solo from Tornay and Julien at the launch of “Glorious Whores,” soon enough joined by a bass tone so rumbling it’s almost funny that turns out to be a defining aspect of the song around which the guitars and drums build to a considerable plod.

There are vocals on several of the tracks, “Glorious Whores” among them, but no discernible lyrics to form a verse/chorus trade, which only underscores the dudes-in-a-room-playing-off-the-cuff spirit of the record as a whole. None of these players are strangers to improv or to collaboration, so to have them working together is still an experiment, but definitely one that benefits from their general readiness to plug in and play.

And the shorter, more atmospheric pieces — “Un Gribouillis De La Beauté,” “Black Without White,” “A la Fin Je l’Espère Calme” — do much to avoid a “sessions” kind of feel, adding range to the project overall and giving context to the post-grunge guitar work on “Safe in Pieces” or the dreamy meld in “Tenderloin Vignette.” That tradeoff becomes even more apparent on side B, with four tracks beginning with “Black Without White” leading into “Safe in Pieces” and the pair of “A la Fin Je l’Espère Calme” and “The Rocky Road to Holiness” closing out.

More conversation is had — literal and figurative — as guitars play off each other in “A la Fin Je l’Espère Calme,” but with how fluidly they do so, it would be easy to listen to a a whole record of nothing but that, particularly with the keys surrounding. To call it a jam I guess is fair enough, but it’s more of a standalone piece, and it comes apart to let the quiet start of the finale set its mood with more foreboding guitar, toms and cymbal wash, introducing chanting before the two-minute mark and dropping out circa 2:30 into its 7:29 to let the guitar introduce the figure on which “The Rocky Road to Holiness” will roll Double Quartet Serie Vol. 1 to its conclusion, both drummers working in lockstep as the bass and guitars build around them.

By the time they’re about five minutes deep, they’ve brought the wash to its head, and topping it with some “ohh”-type vocals from one side, the other, or both, it’s a cohesive way to cap the release as it winds down, underscoring the point that throughout, it’s not so much a case of Fatso Jetson and Gary Arce opposing Hifiklub as working in concert with them. I said as much with the video premiere, but really, what the eight-piece Hifiklub vs. Fatso Jetson + Gary Arce conjure is molten to the point of liquidity, and with how well they fit together, Double Quartet Serie Vol. 1 is able to engage front-to-back with a genuine sense of adventure and immersive depth.

Hifiklub vs. Fatso Jetson + Gary Arce, The Making of Double Quartet Serie Vol. 1

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Video Premiere: Fatso Jetson & Gary Arce Debut Collaboration with Hifiklub

Posted in Bootleg Theater on September 2nd, 2016 by JJ Koczan

fatso jetson hifiklub

The official name of the project — Hifiklub vs. Fatso Jetson & Gary ArceDouble Quartet Serie Volume 1 — is kind of complicated, but what it works out to is gorgeous psychedelic spaces crafted with a spirit of resonant improvisation. Indeed, the parties involved in the seven-track Subsound Records release are collaboration-prone French experimentalists Hifiklub (they’ve also worked with Alain Johannes and have a new record out with Jad Fair and kptmichigan), as well as Fatso Jetson — who at the time of the recording were touring as the trio of Mario LalliDino von Lalli and Tony Tornay — and Yawning Man guitarist Gary Arce, with whom they were on the road. Two quartets. Hence “double.”

Subsound will have the full-length out next month, and I haven’t yet heard the whole thing, but listening to the two tracks included in the video below, “Tenderloin Vignette” and “Glorious Whores,” my only quibble is with the “vs.” part of the collaboration’s moniker. There’s very little working against each other going on here, if any. Granted it might be awkward to go with Hifiklub & Fatso Jetson & Gary Arce, but that’s really kind of how it works out. Each party makes clear contributions, but I wouldn’t say there’s any antagonism on a sonic level to be found — only fluid, desert-infused psychedelic jamming, oddly choral vocalizations, and a bendy-string intro that soon gives way to two cuts anchored by warm and consuming bass tone over which guitars shine out in engaging progressions. I get the use of “vs.” as a stylistic choice in naming the project, but it’s worth making clear that nobody in Hifiklub or Fatso Jetson seem like enemies by the time the songs are done.

Rather, the vibe that pervades is delightfully let’s-go-into-the-studio-and-see-what-happens. The underlying motion of “Tenderloin Vignette” and the bass push that starts “Glorious Whores” seem to have been thought out beforehand, but there’s a lot here that sounds off the cuff, a real “sessions”-kind of release. You get members of one band or the other screwing around between the tracks and all, and it makes the whole thing seem even more natural, not that it was hurting in that regard.

The video, directed by Laetitia Bica, captures Mont Faron, in Hifiklub‘s native Toulon. Some of the portion in the second half going backwards gave me kind of a queasy feeling, so if you’re affected by that kind of thing, keep an eye out, but even if you put it on and click to another window, I think you’ll agree it’s well worth your time to listen.

More to come on this release next week. Please enjoy:

Hifiklub vs. Fatso Jetson & Gary Arce, “Tenderloin Vignette”/”Glorious Whores” official video

Subsound Records is happy to announce the ‘2 Tracks video’ (track 1 and 3) from the upcoming album “Double Quartet Serie” Vol.1 HIFIKLUB Vs FATSO JATSON w/ GARY ARCE, directed by the artist Laetitia Bica.

It’s a portrait of the montain in Toulon, Le mont Faron, France.

The release will be out via Subsound Records in October and distributed worldwide.

Tracklist :
1. Tenderloin Vignette
2. Un Gribouillis De La Beautè
3. Glorious Whores
4. Black Without White
5. Safe In Pieces
6. À La Fin Je L’Espère Calme
7. The Rocky Road To Holiness

Double Quartet Serie Volume 1
Hifiklub vs Fatso Jetson + Gary Arce
2016, Subsound Records

Two tracks:
1. Tenderloin Vignette
2. Glorious Whores — starts at 6.49

Music by Pascal Abbatucci Julien, Régis Laugier & Nico Morcillo
Arranged with Gary Arce, Ahmad Compaoré, Mario Lalli, Arnaud Maguet, Tony Tornay & Dino Von Lalli

Quartet 1, left channel — Hifiklub
Ahmad Compaoré – drums
Régis Laugier –bass & vocals
Arnaud Maguet – effects
Nico Morcillo – guitar

Quartet 2, right channel — Fatso Jetson + Gary Arce
Gary Arce – guitar
Mario Lalli – bass & vocals
Tony Tornay – drums
Dino Von Lalli – guitar

Subsound Records website

Hifiklub website

Fatso Jetson website

Laetitia Bica website

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Mr. Bison to Release Asteroid on March 18

Posted in Whathaveyou on January 26th, 2016 by JJ Koczan

mr bison

Hailing from the northern side of Italy’s western coastline, it’s little wonder that Cecina trio Mr. Bison are looking to have a good time. The upbeat heavy rockers will release their second album, Asteroid, via Subsound Records on March 18, and it will serve as the foll0w-up to the band’s 2012 debut, We’ll be Brief, which showed some clear influence from modern fuzz à la Truckfighters — who at this point should be charging royalties to the Italian Ministry of Culture — and a clear readiness not to take itself too serious in songs like “Grocery Store” and “R&R Cobra.”

If there’s any shame in Mr. Bison moving beyond that record and toward the new release, it’s that they didn’t make a video for “Grocery Store” from the debut, which featured the chorus, “I go to the grocery store,” and seem ripe for some visual representation. Perhaps even of someone going to the grocery store. A missed opportunity, but four years after issuing their first LP — they also had an EP out in 2011 called We Don’t Like Love Songs that, like the debut, is available as a free download from their Bandcamp — it’s probably time for them to roll on one way or another.

Since their last time out, the band has apparently dropped the bass in favor of a dual-guitar approach. The PR wire brings confirmation of that as well as the preorder link for Asteroid, which you’ll find under the artwork below:

mr bison asteroid

Subsound Records is thrilled to announce the signing of the italian stoner rockers MR.BISON

The long awaited album “ASTEROID” will come out worldwide on March 18th 2016, powered by a new double guitar line up balancing the absence of bass with a wall of sound result of home made splitted triple amplifiers.

Artwork by acclaimed designer Luca Solo Macello. “ASTEROID” will hit the stores in Cd and Lp formats

Pre-Orders Here: http://subsoundrecords.bigcartel.com/artist/mr-bison

www.facebook.com/mrbisonband
www.subsoundrecords.it

Mr. Bison, We’ll be Brief (2012)

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