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Stupor (2022), 7.5/10 Links:

Italian singer, multi-instrumentalist and film actress Virginia Quaranta, aka Bebawinigi debuted with the six-song Bebawinigi (2016), where she and her cohorts employed a chamber arsenal of guitar, cello, glockenspiel, kazoo, violin, banjo, synth, bass, tuba, elettronic effects and several percussion instruments. The mini-album is wildly eclectic, ranging from the sophisticated noir atmosphere of Did you Get (a Lydia Lunch-esque agony set in a free-jazz context) to the operatic lied Fabula. Her voice simulates a sheep in the expressionist cabaret Cugino Itt, imitates a Japanese (eg Cibo Matto) litany in Telomelo, and drowns in chaotic sounds reemerging as a demonic invocation in Maramori.

Her vocal shills are also on display on Soft Shell Turtles' EP Trullo (2017).

The five-song EP Mao (2021) is an altogether different beast: five simple litanies for voice and acoustic guitar, a strange hybrid of nursery rhymes, exotic folk and doo-wop.

She also composed soundtracks for films and theatrical events.

Stupor (2022) could have been much more than the EPs, if not for some dubious songs. The range of styles is vast, as usual, from the witchy punk-rock of the riot grrrrls of the 1990s (Ayahoo!) to the ancestral tribal ceremony of Space via children singing a nursery rhyme in Giu` Dal Cielo. The highlights are Yeah!, an abstract moribund soundscape roamed by Diamanda Galas-esque vocals orgasmic crescendo, and Krisis, in which a whispered litany over muffled distortions turns into a 19th century spiritual over military beats. The longer pieces are somewhat disappointing The Call Of The Deep feels unfocused, Camomilla never amounts to much, and Let The Game takes forever to unleash its digital hardcore. The spectacular first half of the album turns into an amateurish exercise that sounds like a mixtape of demos.

(Copyright © 2022 Piero Scaruffi | Terms of use )