venerdì 8 novembre 2013
lunedì 28 ottobre 2013
mercoledì 23 ottobre 2013
giovedì 17 ottobre 2013
venerdì 11 ottobre 2013
Recensione "The Ivy" su Music Addiction
di Francesco munista
The Great Saunites sono il duo psichedelico lodigiano formato da Atros (basso, chitarra, tastiere, voci) e Leonard Kandur Layola (batteria, chitarra, tastiere, effetti, curatore del progetto Lucifer Big Band), ovvero Marcello Groppi e Angelo Bignamini. Per questo nuovo lavoro (il quinto dal 2010) intitolato “The Ivy” si avvalgono della registrazione e del mixing di Luca Ciffo (Fuzz Orchestra) e della masterizzazione di Riccardo Gamondi (Uochi Toki). Il risultato non si discosta molto dall’universo stoner-math-folk-psych-wave costruito (o decostruito) negli ultimi anni, ma brilla se paragonato al nuovo trend di psichedelica occulta che sembra entusiasmare sempre più critici e ascoltatori. I TGS sono dei giovani veterani, hanno inaugurato il loro rito pagano di wah, fuzz, math-rock e trance elettrica in tempi non sospetti e non temono confronti. Per di più suonano semplici, diretti, immediati. Floydiani quanto basta (“Bottles&Ornaments” cita “Echoes” con stile e dignità), Tortoisiani per difetto.
Ma torniamo indietro, all’apertura del disco segnato da “Cassandra”, un brano rock fuzzato e storto che riesce a tenere insieme stoner anni ’90, stooges-sound anni ‘70 e acid anni ’60. In “Medjugorje” il wah impazza e si contorce in (e sul) basso per otto minuti di ossessione tribale. “Ocean Raves” vira sull’acustico e il bucolico. I quasi venti minuti della finale “The Ivy” rappresentano il viaggio puramente psichedelico, armosferico, che tiene insieme Sleep e MC5, Death in June e Nick Cave, Tortoise e Can. Sarà proprio questo il brano che consoliderà il legame della band con la scena occulta italiana (Cannibal Movie, La Piramide di Sangue e soci). Sarà il brano che mostrerà dal vivo quanto sono bravi a creare suggestioni, a deviarle gradualmente o drasticamente, dal punto A al punto B. Dal rock matematico rimandato a settembre al prog favolistico suonato da un’orchestra di due.
http://www.musicaddiction.it/recensioni/album-nuove-uscite/the-great-saunites-the-ivy-bloody-sound-fucktory-il-verso-del-cinghiale-2013/
The Great Saunites sono il duo psichedelico lodigiano formato da Atros (basso, chitarra, tastiere, voci) e Leonard Kandur Layola (batteria, chitarra, tastiere, effetti, curatore del progetto Lucifer Big Band), ovvero Marcello Groppi e Angelo Bignamini. Per questo nuovo lavoro (il quinto dal 2010) intitolato “The Ivy” si avvalgono della registrazione e del mixing di Luca Ciffo (Fuzz Orchestra) e della masterizzazione di Riccardo Gamondi (Uochi Toki). Il risultato non si discosta molto dall’universo stoner-math-folk-psych-wave costruito (o decostruito) negli ultimi anni, ma brilla se paragonato al nuovo trend di psichedelica occulta che sembra entusiasmare sempre più critici e ascoltatori. I TGS sono dei giovani veterani, hanno inaugurato il loro rito pagano di wah, fuzz, math-rock e trance elettrica in tempi non sospetti e non temono confronti. Per di più suonano semplici, diretti, immediati. Floydiani quanto basta (“Bottles&Ornaments” cita “Echoes” con stile e dignità), Tortoisiani per difetto.
Ma torniamo indietro, all’apertura del disco segnato da “Cassandra”, un brano rock fuzzato e storto che riesce a tenere insieme stoner anni ’90, stooges-sound anni ‘70 e acid anni ’60. In “Medjugorje” il wah impazza e si contorce in (e sul) basso per otto minuti di ossessione tribale. “Ocean Raves” vira sull’acustico e il bucolico. I quasi venti minuti della finale “The Ivy” rappresentano il viaggio puramente psichedelico, armosferico, che tiene insieme Sleep e MC5, Death in June e Nick Cave, Tortoise e Can. Sarà proprio questo il brano che consoliderà il legame della band con la scena occulta italiana (Cannibal Movie, La Piramide di Sangue e soci). Sarà il brano che mostrerà dal vivo quanto sono bravi a creare suggestioni, a deviarle gradualmente o drasticamente, dal punto A al punto B. Dal rock matematico rimandato a settembre al prog favolistico suonato da un’orchestra di due.
http://www.musicaddiction.it/recensioni/album-nuove-uscite/the-great-saunites-the-ivy-bloody-sound-fucktory-il-verso-del-cinghiale-2013/
lunedì 30 settembre 2013
4-5 Ottobre TGS live a Milano e Bergamo
TGS si esibiscono Venerdi 4 Ottobre al Leoncavallo di Milano e Sabato 5 Ottobre all' Ink Club di Bergamo.
Maggiori informazioni qui:
https://www.facebook.com/events/523004481115293/?ref_newsfeed_story_type=regular
https://www.facebook.com/events/359615527505358/
http://www.leoncavallo.org/
http://skinfantasies.eu/
Maggiori informazioni qui:
https://www.facebook.com/events/523004481115293/?ref_newsfeed_story_type=regular
https://www.facebook.com/events/359615527505358/
http://www.leoncavallo.org/
http://skinfantasies.eu/
mercoledì 28 agosto 2013
Review of "The IvY" on EVILSPONGE
written by PostLibyan
The Great Saunites are a duo from Italy who make odd music that is a kind of jazzy and kind of math-rock-ish at times. And you know how odd Italian bands like EvilSponge, so of course they sent us a promo.
And it's really pretty good. It is a little weird, but it takes classic math rock (think early Rodan), Krautrock (especially Can), and late 60s psychedelic and mixes it all together. I guess the closest thing that compares is Tortoise, but The Great Saunites are far more spastic.
The thing is, the band is a duo, and i am not sure how that works out musically. There is prominent drumming, so someone is doing that. Then there is guitarwork, spastic and grinding along, so someone is doing that. Then most of the songs also layer in organ drones. Who plays the organ? Is that sequenced? Is the drummer playing one hand on the drums and one on the organ? I can't visualize this... But i guess i am thinking of a live performance. In the studio, sure they can record one part then layer in the other.
Anyway, i find that a little odd.
There are five songs in about 38 minutes here. Let's examine them.
The whole release starts with an awesome guitar riff in Cassandra. The guitar is slightly distorted and bluesy, like something Tommy Iommi would have played on the first couple of Black Sabbath Records. The guitar positively squeals its way through this, backed by a steady drum beat and a subtle organ drone. The overall effect is of some acid-addled late 60s freakout, man!
A sample of chanting in a foreign language kicks of Medjugorje. Shortly a distorted guitar riff is layered over, grinding under some fuzzy distortion. The drums kick in, spastic, feverish, and the organ drone is back. The band jams on this for eight minutes, guitar and organ and percussion going all over the place.
Bottles & Ornaments starts with a some kind of distorted reversed voice bit, organ drone, and the guitar playing long bluesy notes like something from early Pink Floyd. Drumming thumps in and out of this mind trip of a tune, which kind of floats around for just over three and a half minutes. The Great Saunites follow up with another short tune, Ocean Raves, this one just an acoustic guitar playing away, strummed and plinked.
And then we have the album’s closer, The Ivy which clocks in at 19:51. It is not the noodley 20 minute type of song that Landing do, but 20 minutes of steady progression, the various parts looping around each other, drums, guitar, keyboards all circling. It's pretty a pretty fascinating jam. After 10 minutes, a voice comes in, and the song becomes vaguely gothy, with really intense drumming! And then it goes through a period where the keys are doing improv jazz, just seemingly random noise stuff, and then it all wraps up with some Pink Floyd-ish strumming similar to the previous tune. A pretty fascinating progression, and the Great Saunites really make it work.
Overall, this is pretty interesting. It is kind of mathy, kind of psychedelic, and kind of jazzy all at the same time. It will not appeal to everyone, but it is pretty diffferent. I would say that i haven't heard anything exactly like this before, and that is saying something. They manage to pull it off too.
http://www.evilsponge.org/albums/GreatSaunites__Ivy.htm
The Great Saunites are a duo from Italy who make odd music that is a kind of jazzy and kind of math-rock-ish at times. And you know how odd Italian bands like EvilSponge, so of course they sent us a promo.
And it's really pretty good. It is a little weird, but it takes classic math rock (think early Rodan), Krautrock (especially Can), and late 60s psychedelic and mixes it all together. I guess the closest thing that compares is Tortoise, but The Great Saunites are far more spastic.
The thing is, the band is a duo, and i am not sure how that works out musically. There is prominent drumming, so someone is doing that. Then there is guitarwork, spastic and grinding along, so someone is doing that. Then most of the songs also layer in organ drones. Who plays the organ? Is that sequenced? Is the drummer playing one hand on the drums and one on the organ? I can't visualize this... But i guess i am thinking of a live performance. In the studio, sure they can record one part then layer in the other.
Anyway, i find that a little odd.
There are five songs in about 38 minutes here. Let's examine them.
The whole release starts with an awesome guitar riff in Cassandra. The guitar is slightly distorted and bluesy, like something Tommy Iommi would have played on the first couple of Black Sabbath Records. The guitar positively squeals its way through this, backed by a steady drum beat and a subtle organ drone. The overall effect is of some acid-addled late 60s freakout, man!
A sample of chanting in a foreign language kicks of Medjugorje. Shortly a distorted guitar riff is layered over, grinding under some fuzzy distortion. The drums kick in, spastic, feverish, and the organ drone is back. The band jams on this for eight minutes, guitar and organ and percussion going all over the place.
Bottles & Ornaments starts with a some kind of distorted reversed voice bit, organ drone, and the guitar playing long bluesy notes like something from early Pink Floyd. Drumming thumps in and out of this mind trip of a tune, which kind of floats around for just over three and a half minutes. The Great Saunites follow up with another short tune, Ocean Raves, this one just an acoustic guitar playing away, strummed and plinked.
And then we have the album’s closer, The Ivy which clocks in at 19:51. It is not the noodley 20 minute type of song that Landing do, but 20 minutes of steady progression, the various parts looping around each other, drums, guitar, keyboards all circling. It's pretty a pretty fascinating jam. After 10 minutes, a voice comes in, and the song becomes vaguely gothy, with really intense drumming! And then it goes through a period where the keys are doing improv jazz, just seemingly random noise stuff, and then it all wraps up with some Pink Floyd-ish strumming similar to the previous tune. A pretty fascinating progression, and the Great Saunites really make it work.
Overall, this is pretty interesting. It is kind of mathy, kind of psychedelic, and kind of jazzy all at the same time. It will not appeal to everyone, but it is pretty diffferent. I would say that i haven't heard anything exactly like this before, and that is saying something. They manage to pull it off too.
http://www.evilsponge.org/albums/GreatSaunites__Ivy.htm
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