Laddio Bolocko
(Copyright © 2006 Piero Scaruffi | Legal restrictions - Termini d'uso )

Strange Warmings (1997) , 7.5/10
Psychic Paramount: Gamelan Into The Mink Supernatural (2005), 7/10
Psychic Paramount: II (2011), 6.5/10

Laddio Bolocko were formed in 1996 in New York with Drew St.Ivany on guitar, Ben Armstrong on bass, Marcus DeGrazia on saxophone, and Blake Fleming (ex Dazzling Killmen) on drums.

They mixed the neurotic introspection of post-rock and the psychotic attack of hardcore on Strange Warmings (Hungarian, 1997), whose jams also referenced Faust, Can, This Heat, latter-day King Crimson and Slint, not to mention free-jazz and acid-rock. As structures exploded and imploded, the listener was taken on a rollercoaster of stylistic mirages.

The soundscape got blurred on the EPs In Real Time (1998) and As If By Remote (1999), that abandoned the frenzy of the debut album to concentrate on textural explorations.

The dobule-cd album The Life & Times Of (No Quarter, 2005) collects the album and the two EPs.

Blake Fleming (drums) and Marcus Degrazia (organs, keyboards, saxophone, flute) formed Electric Turn To Me with German vocalist Silke. They debuted with the EPs Clouds Move So Fast (No Quarter, 2003) and Electric Turn To Me (No Quarter, 2003).

(Translation by/ Tradotto da Sergio Fiore)

I Laddio Bolocko si sono formati nel 1996 a New York con Drew Stivany alla chitarra, Ben Armstrong al basso, Marcus De Grazia al sassofono, e Blake Fleming (ex Dazzling Killmen) alle percussioni.

Le commistioni fra le introspezioni neurotiche del post-rock e gli attacchi psicotici dell'hardcore cazratterizzano Strange Warmings (Hungarian, 1997), del quale le jams citano Faust, Can, This Heat, latter-day King Crimson and Slint, per non parlare del free-jazz e dell'acid-rock. Le strutture esplodono ed implodono, l'ascolto configura un saliscendi di miraggi stilistici.

Il sound si fa pió confuso nell' EP In Real Time (1998) e in As If By Remote (1999), dove abbandona le frenesie dell'album di debutto per concentrarsi nelle sperimentazioni delle trame.

Il doppio cd The Life & Times Of (No Quarter, 2005) contiene l'album e i due EP.

Fleming e DeGrazia insieme al cantante tedesco Silke hanno formato gli Electric Turn To Me, coi quali hanno realizzato Electric Turn to Me (No Quarter, 2003).

After Laddio Bolocko split, bassist Ben Armstrong and guitarist Drew StIvany formed Psychic Paramount with drummer Jeff Conaway. They de facto continued the mission of Laddio Bolocko on Gamelan Into The Mink Supernatural (No Quarter, 2005), but adding an almost metal intensity. The overture, Megatherion, is a tidal wave of apocalyptic drumming and jarring guitar distortions. The seven-minute Para5 hurls forward at manic speed and then intones hyper-Jimi Hendrix-ian hymn amid absolute rhythmic chaos. A rational melodic riff finally rises above the noise like King Kong advancing through the ruins. The peak of violence is actually the frenzied and hysterical maelstrom of Echoh Air , a concentrate of Blue Cheer, MC5 and the wildest free-jazz (including a tour de force by drummer Jeff Conaway). A very different idea of music permeates the nine-minute cinematic X-Visitations, sideral drones and effects that coalesces in what sounds like a spacecraft's turbulent takeoff before the guitar's fibrillating raga bestows a transcendent fervor on the chaos. Suddenly the ten-minute Gamelan Into The Mink Supernatural transforms the cosmic theme into an alien pulsation that builds up to become a full-fledged minimalist concerto. This grows steadily to become an interstellar gamelan orgy and to accelerate into a propulsive supernova pow-wow only to end abruptly. The double-CD Origins and Primitives (2007) collected old material recorded over the years by St.Ivany.

Psychic Paramount's II (No Quarter, 2011) is a somewhat brainier work than their first album. Intro/SP immediately announces a more sophisticated post-rock Don Caballero-ish structure with a mechanical syncopated beat that creates alienation rather than transcendence. This segues into the celestial drone of the nine-minute DDB that soars into a majestic fireball of manic drumming and distorted guitars. However, this too decays into a more intellectual debate among the instruments. guitars. The protagonist of RW is the intricate and repetitive rhythm, not the incendiary guitar distortions. Even the deafening cyclopic wall of sound of N6 has to pause and think, and then it mutates into a sort of helicopter flapping. The one moment of elastic propulsive jamming is Isolated, the closest thing to the spontaneous freakouts of the first album, but, again, a bit closer in spirit to free-jazz than to post-rock.

(Translation by/ Tradotto da xxx)

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(Copyright © 2006 Piero Scaruffi | Legal restrictions - Termini d'uso )
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