Dilatazione
Too Emotional For Maths
(8tx cd, 37'o7" - Slow Motion Pinguino rec 'o6)
| pall youhideme
I Dilatazione,
al debutto ufficiale su etichetta, seppur insieme dal '99, da Firenze,
passano il varco del post-rock che guida al risvolto cinematografico
più descrittivo del genere, - si ritrovano in una spirale di serpentine
strumentali e rallentamenti melliflui che calibrano un continuo
crescendo di gentilezze, aiutati da trombe, sax baritono, virbrafono
oltre ai normali attrezzi di genere quali chitarre ricchi di riff,
basso matematico, e ottime percussioni (gran lavoro di bacchette
cavalcanti). A cacciare via l'ombra del 'gruppo strumentale' c'è
special guest Amaury Cambuzat,
che in cambio di voce, harmonium, ebow su chitarra, e piano, si è preso
l'anima del batterista Alessio Gioffredi per farlo suonare con i Suoi Ulan Bator. La voce di Cambuzat canta in francese, e dona quel surplus di eleganza e narrativa alle composizioni, da Cendre In e Cendre Out (memorie e voluttuà che mi ricordano certi Twig Infection (rip!)), per quanto un gioiellino quale Tutto si dimentica viva
di luminosità propria pur se orfano del cantato, - certo che però quel
taglio brusco sul finale della traccia porta a domandarsi dall'intimo 'maccheccazz.. mi si è rotto il cd?' - Invece
no, - peccato, perchè di pathos ne tira molto. - Trovo che il disco
rischi di perdersi in troppo lirismo evocativo essendo tanto lontano
dal radio-friendly e dai canoni chorus-verse-chorus, ma essendo una
scelta di stile (leggo definirsi cinephile rock), direi che il cinema non è lontano.
++++++++++++++++++
Dilatazione, on record label release debut even if together since '99, from florence, cross the threshold of post-rock, stepping into more descriptive cinematographic face of genre, - hovering into a spiral of instrumental serpentines and mellifluous slow-downs, that calibrate a continuous crescendo of pleasantness, helped by trumpets, baritone sax, xylophone, besides usual means of style as guitars (rich with riffs), mathematical bass lines and excellent drumming (great work of outriding sticks). To dismiss the shadow of instumental bands, Amaury Cambuzat is special guest, that in return of vocals, harmonium, ebow on guitar and piano, takes back drummer Alessio Gioffredi's soul to introduce Him into Ulan Bator's latest line-up. Cambuzat's voice sings in french, and gives that plus of elegance and narrative take to the song-writing, from Cendre In e Cendre Out (these songs make me remember of italian gems Twig Infection (rip!)), even if a opus as Tutto si dimentica is brighten of a own light, even if voice-less, - anyway, that rude cut on the end of the track really lets You wonder 'whatthefuck... my cd has got something wrong..' - while it's planned.. what a pity, it was full of pathos.. Last, - the problem i see with the whole album is the excessive evocative lyrism, - so far from being radio-friendly and from the chorus-verse-chorus formula, - but being a choice of style (i read Dilatazione talk of cinephile rock), i'd say They reached the point, and the cinema is not so far.
ƒ˜mp3 (via hp):
.o2. Solo in una strada affollata
++++++++++++++++++
Dilatazione, on record label release debut even if together since '99, from florence, cross the threshold of post-rock, stepping into more descriptive cinematographic face of genre, - hovering into a spiral of instrumental serpentines and mellifluous slow-downs, that calibrate a continuous crescendo of pleasantness, helped by trumpets, baritone sax, xylophone, besides usual means of style as guitars (rich with riffs), mathematical bass lines and excellent drumming (great work of outriding sticks). To dismiss the shadow of instumental bands, Amaury Cambuzat is special guest, that in return of vocals, harmonium, ebow on guitar and piano, takes back drummer Alessio Gioffredi's soul to introduce Him into Ulan Bator's latest line-up. Cambuzat's voice sings in french, and gives that plus of elegance and narrative take to the song-writing, from Cendre In e Cendre Out (these songs make me remember of italian gems Twig Infection (rip!)), even if a opus as Tutto si dimentica is brighten of a own light, even if voice-less, - anyway, that rude cut on the end of the track really lets You wonder 'whatthefuck... my cd has got something wrong..' - while it's planned.. what a pity, it was full of pathos.. Last, - the problem i see with the whole album is the excessive evocative lyrism, - so far from being radio-friendly and from the chorus-verse-chorus formula, - but being a choice of style (i read Dilatazione talk of cinephile rock), i'd say They reached the point, and the cinema is not so far.
ƒ˜mp3 (via hp):
.o2. Solo in una strada affollata
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