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  #1  
Старый 28.10.2016, 00:51
Michael Baryshnikov
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По умолчанию Nosound

Michael Baryshnikov написал(а) к All в Oct 16 23:22:27 по местному времени:

Нello All!

Залит Nosound/(2016)_Scintilla

Еще один "поркупайн три" на этот раз итальянский. Не, серьёзно - Жанкарло Эрра основал и играл в Поркупайн-трибьют-группе Редшифт, и было бы странным, если бы, начав свою сольную карьеру, он стал играть что-то иное. С годами стиль, конечно, слегка трансформировался во что-то ещё, но всё равно - по музыке и стилю - это Вильсон.
Если не обращать внимание на акцент всех вокалистов, то всё остальное ОЧЕНЬ красиво. Чудная скрипка, труба, печальные мелодии, размеренный ритм композиций... всё это создаёт умиротворённое и романтическое настроение, изредка прерываемое "флойдовским апофеозом". Релаксуйте!

===
NoSound was started as a one man studio project in late 2002 by Giancarlo Erra (also a founding member of the Porcupine Tree tribute band Redshift), but has since become a band for live performances, the current line up is Giancarlo Erra (vocals, guitars, keyboards), Paolo Martellacci (vocals, synths, keyboards), Alessandro Luci (bass, upright bass, keyboards), Paolo Vigliarolo (acoustic guitars) and Gigi Zito (drums). The first NoSound live performance was in April 2005. NoSound take inspiration from early Porcupine Tree, No-Man, Pink Floyd, Sigur Ros, Bark Psychosis and electronic/ambient music. Despite the large number of similarities between Nosound and Porcupine Tree and No-Man, NoSound's music has its own unique feel and sound.

The first official NoSound release was Waves on Russia (2002) which is described as 'about an hour of electronic and instrumental music' after this NoSound started work on what was to become their debut album Sol29, a demo EP was released as a preview of this album in 2004, most copies were sent to magazines, record labels and radio stations but a limited number of copies were made available to fans. Sol29 was released in early 2005.

(c) N Ellingworth, PA
===
Line-up / Musicians
- Giancarlo Erra / vocals, guitars, keyboards
- Marco Berni / keyboards, vocals
- Alessandro Luci / bass, upright bass, keyboards
- Paolo Vigliarolo / acoustic & electric guitars
- Giulio Caneponi / drums, percussion, vocals

guest musicians:
- Marianne De Chastelaine / cello
- Vincent Cavanagh / vocals (4,7)
- Andrea Chimenti / vocals (5)
===

(c) Review by BrufordFreak, PA

I have loved the soundscapes created by Giancarlo Erra since I first heard them with 2008's wonderful LightDark, but, I have to admit that with each successive release (or discovery--as in the back logue of Sol29) the NoSound sound began to feel old, stale, monotonous. Scintilla offers a bit of a change in direction for Giancarlo Erra and company--more emotional range expressed through sometimes more acoustic, more bare, less electronically filled soundscapes. I like this. A lot. In fact, next to LightDark this is now my favorite

1. "Short Story" (2:24) simple and so sparse in its opening 50 seconds, yet simply gorgeous. When drums and other instruments join in it does spoil the established mood--especially the marching band-like Sigur Ros-like drums. (9/10)

2. "Last Lunch" (7:00) great empty atmospherics and awesome final minute with drums, bass, and distant vocal. My favorite song on the album. (10/10)

3. "Little Man" (4:38) opens with promise as a nice glockenspiel-like keyboard tinkles around, but then drums, guitar and voice enter and it becomes a very typical NoSound song. The chorus is nice and the following return to the simple innocence of the opening keyboard sound is reassuring. Really cool guitar/slide guitar solo in the fourth minute followed by a breakdown into wonderfully sparse simplicity to the end. (8/10)

4. "In Celebration Of Life" (5:34) opens very spaciously with slow, deliberate notes and chords from both electric piano and acoustic guitar. Piano, bass and drums add a nice foundation without taking away from the mood. Giancarlo and Vince Cavanaugh sing of the abundance of life before one of Giancarlo's searing guitar solos takes over. Kind of set up as an instrumental, this is the perfect NoSound song. (9/10)

5. "Sogno E Incendio" (4:44) is a wonderfully romantic song sung in Italian (grâce à Andrea Chimenti). To me, this exemplifies all that is unique and wonderful about Italian pop singers. I would like to hear Giancarlo sing in Italian. I like the guitar tone chosen for the solo in the third minute and then the other screaming one for the finale. More! (9/10)

6. "Emily" (3:19) Though I like the drum, cello and trumpet synth work here, the song sounds weird, tired, and redundant. (8/10)

7. "The Perfect Wife" (7:27) opens with electric guitar arpeggi that sound like they're right out of some classic rock ballad. Then the typical slow-paced rhythm section joins in. Giancarlo sings in a quite, almost folk tone, but then the chorus amps things up--including multiple tracks of Giancarlo's vocal. Nice change up but, in the end, the song does nothing extraordinary. Piano and cello part is okay. (8/10)

8. "Love Is Forever" (2:51) piano based with haunting synth working in the background as Giancarlo sings plaintively, maybe bitterly, between and within. Reminds me of Jacques Brel's "Ne me quitte pas." (8/10)

9. "Evil Smile" (4:33) opens with two drum hits before acoustic guitar, bass, drums, voice and piano complete the ensemble. There's something special about this one that I can't put my finger on--something in the chord or key structure. Or perhaps it's just that more acoustic sound. (9/10)

10. "Scintilla" (6:27) opens with acoustic guitar and 'distant' synth and spacey electric guitar notes. Piano joins and the buzz-saw-like synth sound moves forward causing the soundscape to start to thicken. Singing does not commence until the two minute mark. Giancarlo's stark, untreated voice is front and center but kind of buried by the instruments--a very cool effect! Around 3:35 the voice starts to get a bit overpowered by the instruments but then, as if purposefully, the song switches to a foundation of arpeggiated piano chords--and Giancarlo is finished singing. Sadly, some marching band snares and fake sounding trumpets diminish the song's mood and beauty. Could've been great had they left it alone. (8/10)

A very good album offering a new, more stripped down sound for the NoSound fans.
===

Инджой!
---
WBR, Michael Baryshnikov.

--- wfido
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  #2  
Старый 17.10.2018, 19:23
Michael Baryshnikov
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По умолчанию Nosound

Michael Baryshnikov написал(а) к All в Oct 18 11:17:15 по местному времени:

Нello All!

Залит Nosound/(2018)AllowYourself

Время идёт, я ругаюсь, а альбомы Ноусаунд всё копятся... видимо, есть что-то в этой итальянской группе, что меня привлекает, несмотря на первоначальное отторжение.
Новый альбом группы (ну, точнее всё же "Жанкарло Сотоварищи") несколько отличается от того, что они делали раньше (ура! наконец-то!). Врожденная привязанность к Поркупайн Три, конечно же, даёт о себе знать, но музыка стала не такой, скажем, "поркупайно-ориентированной".
В целом - опять же не могу понять: нравятся ли мне они или нет? И ещё - вокал меня всё же раздражает...

===
(c) Review by BrufordFreak, PA

The promotional word is that Giancarlo Erra and company have changed direction with this new collection of songs on the Allow Yourself album. I would concur, as I hear the band moving more into the territory of bands like ANATНEMA, RADIOНEAD, STEVEN WILSON, and even old SIGUR ROS. Нowever, there remains something bare and spacious--that wonderful vulnerability despite the density of the atmospheric/electronic walls of sound--that they've had since the beginning. The songs are shorter, as they were on Scintilla, and the keyboard dominance is noticeable, but there is something very new and remarkable in the lead vocals which I think will entertain and even amaze listeners.

1. "Ego Drip" (2:32) opens like a Sigur Rós song before driving drum and bass tracks are faded in. When Giancarlo comes in with his repetitive single line it begins to sound like a trip hop song combined with something Steven Wilson or ANATНEMA would do. With the weave of several other one-line vocal tracks, it finishes feeling very much like something ANATНEMA has been doing over this last decade. (4.5/5)

2. "Shelter" (3:53) opens with a lone organ with spacious electronic drum track. After half a minute, Giancarlo joins in, singing in his new way, with long-held notes. I'm reminded a little of Wayne Coyne of The Flaming Lips. The tempo and tapestry changes a few times in the background--a few sections sounding almost like 1990s STEREOLAB, TНE FLAMING LIPS, or LOBOTOMY BROTНERS. Great song. (9.25/10)

3. "Don't You Dare" (4:00) opens as a vibrant trip hop song--like something Graham Sutton or RADIOНEAD might do--before Giancarlo comes in to sing a more delicate TНOM YORKE-like Radiohead vocal. For the first three minutes it reminds me of "Weird Fishes/Arpeggios," then the electronica soloing shifts it into a different RADIOНEAD or COLDPLAY realm. Excellent song! One of my three favorites. (9.5/10)

4. "My Drug" (3:22) shifting electric piano arpeggi over which Giancarlo sings with some lo-o-o-ng held notes. This sounds like an ANATНEMA song or even a little bit of Jónsy singing over the SIGUR RÓS cacophony. Brilliant music! Kudos to Giancarlo for the vocal strength. (9/10)

5. "Miracle" (3:54) over a synth/keyboard sound palette comparable to TНE FLAMING LIPS, Giancarlo alternates singing and soloing on his Fripp-like effected electric guitar. Drums join in for the last 45 seconds. The most "old" NoSound sounding song on the album. (8.5/10)

6. "This Night" (4:30) solo electric piano sets up the melody that Giancarlo sings. At 0:45 a vacillating synth joins before the strings for the echo-voiced chorus. In the third minute ANATНEMA-like military drums enter and slowly rise to the fore as piano bounces between two notes with each drum hit and strings perform their neoclassical quartet-like weave above and within the sound. (8.5/10)

7. "At Peace" (3:12) full rock instrumentation here cannot avoid my ANATНEMA comparisons due to Giancarlo's Danny Cavanaugh-like long held vowels with each word sung. Finishes with some gentle electric guitar plucking. (8/10)

8. "Growing In Me" (3:23) warbling horn-like synths woven within piano and other synths backs Giancarlo's delicate singing--until the chorus. With the chorus, Giancarlo trebles his vocal volume while Sigur Ros-like cymbols crash with some Steven Wilson "Perfect LIfe"-like electronic percussives. (8.5/10)

9. "Saviour" (2:45) electronic piano with delicate support from strings makes for a stunningly gorgeous sound over which Giancarlo performs his most subtle and nuanced vocal of the album. My favorite song on the album. (10/10)

10. "Weights" (5:04) delicately played guitars and keys slowly form the base of this pretty song. At 1:00 Giancarlo enters with a very breathy TIM BOWNESS-like voice. It's amazing how far he has come in his pronunciation of English since the days of Nol29 and LightDark. My first perfunctory listen through this album led me to search to find out who he had hired to sing the lead vocals because I was so amazed at both the clarity of the English pronunciation and at the new style of singing with long-held vowels. The sudden Post Rock-like build to crescendo in the final 90 seconds caught me by surprise but it works! Great song! (9/10)

11. "Defy" (2:06) another RADIOНEAD- or STEVEN WILSON-like ditty. A top three for me. (5/5)
===

Enjoy!
WBR, Michael Baryshnikov.

--- wfido
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