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Iosonouncane, La macarena on Rome (props)

( This piece came out today on Sarda in a shorter version. laid the full review here. The record may to stream here )

strange breed of singer-songwriter to Iosonouncane, nom de plume of James buggerraio Incani debut on disc today (the macarena on Rome) for the Italian label props. Singer / Songwriter in the literal sense and in the broadest sense: that first one who writes his lyrics with a strong authorial vocation and that ultimately is part of an Italian tradition that leads down to the Gaber, From within, De André, but at the same time is able to extend the boundaries of literal with a visionary approach, immersing the melodies of his songs in a musical maelstrom of sounds dirty, loops, beats, percussion and beatbox samples awkward products, toy cars and various keypads. It is in the midst of this tension between the melody and attitude from sapper music that James has found his stylistic staff, in support of a writing that gutter words one after the other using his personal obsessions as the key to the company. The voice then, a voice exacerbated, mocking, bitterly sarcastic which tells stories from his grotesque fishing experience (unemployment, job insecurity, work for two years in a call center), the imaginary television and news reports revised in controversial and satirical. At first, it must be said, listening to the album can be confusing, but once you find the key to all the surprises levels. Since the opening of "Summer on a crowded beach," the story of a sinking of a boat of illegal immigrants and the reactions of cynicism and indifference of the people on the beach ("A wild crowd that clamored for the version in the flesh deaths seen on TV "), which closes with an overlap of hellish voices singing the" po-po-po "World Cup in Berlin, on which James then angrily shouts:" Mother does not know how to swim, help. Drink black, you're a nigger, drink, drink. " Alienating. Play again with the voice in a dialogue with Gramsci, who confesses to mandate curriculum for all and that even the Upim took him, "Look forget it", and in this phrase captures the spirit literally worn down by an army of new proletarians with no hope in the future. And then, the blob apocalyptic staged inside an apartment of 35 square feet of a man sitting on a sofa in front of the TV (the beautiful title track), the touching recollections of personal events in the corpus delicti, or the theater The goal of famous football de hand, one of the pieces "easier" disc, which suggests that deep beyond apparel music with which they are dressed (which is still a necessary part of his proposal) will also work with many pieces a guitar and little else. As it happens only when there is a real talent in writing tout court. Disc beautiful, difficult and importantly, the business card of one of the most original and intense on the Italian scene. ( Andrea Tramonte, Unione Sarda )

Fluttering Upper Abdomen

The guide to modern music of Wire (Isbn editions)

Although dirges in honor of music journalism paper are wasted and are sung on a regular basis (recently on Drowned in Sound , for example), actually still live and struggle with us how important magazines The Wire, which remains a reference point for contemporary music in years in which the musical information travels much more often through blogs and social networking and how deeply changed. The British magazine - founded in 1982 by Anthony Wood and Chrissie Murray - is a must-read for professionals, musicians and music lovers "advanced" from around the world, a newspaper can range from electronica to contemporary classical, from 'improvisation as well as jazz, rock more adventurous, being able to go a bit 'deeper nell'intuire other new music more relevant. A test of the look of the magazine is the book just published by the publishing house in Milan Isbn Edizioni, "The guide to modern music of The Wire" (224 pp., 24 €), a listening guide prepared by Rob Young - with the contribution of best employees of the newspaper - which explores the musical seasons and the artists who changed the course of history through radical experimentation, new approach to the construction of the music, unusual contamination, revisiting the use of musical instruments, technological innovations. A guide, in short, to "all intelligent disks you should know ", as the subtitle of the Italian. "The aim of the book moves up and down," Rob Young writes in the introduction, "both in a geographical and historical, from Brazil to the counterculture of the late sixties to the inhabitants of the impoverished downtown New York at the end of seventy by the studios of Radio France after World War II to the bedroom as a teenager dubstep producers of Twenty-First Century. " If in improv / jazz are proposed to the discographies unconventional characters like the great guitarist Derek Bailey and saxophonist Ornette Coleman ("figures of more concern, and their primer serve as re-evaluations of their work and their careers, "writes Young), and contemporary classical names such as John Cage, Morton Feldman, Karlheinz Stockhausen and location within the development of concrete music, including rock has its senior representatives - visionaries the likes of Frank Zappa and Captain Beefheart, Sonic Youth and The Fall, "Noisers" and the heat - as well as black music (and here James Brown and Fela Kuti are the masters). There is only the past, however, a sign that the current music has much to say in terms of new developments and contamination unknown. For example, the chapters of grime and dubstep. The first, written by Simon Reynolds explores the birth of a genre that has also had important developments in mainstream (MIA was the first starlet grime, The Streets of London rose from the undergrowth to the glitter of the pop charts). A genre that was born in British pirate radio movement drawing from the two-step to include "Rapp scraping, the wood influence of electro beats and bristling aggression, use of synthesizers that can produce" dirty tones that evoke the eighties and often seem to betray the influence of pulp movie soundtracks, music for video games and even cell phone ringtones. In Derek Walmsley instead emphasizes the extreme obsession with the vibrations of the bass featuring producers dubstep, weaving the two-step in this case with "austere and morose instrumental". "Traces of artists such as Burial and Shackleton," Walmsley says, "are the most elegiac and expressive electronic music can offer." ( Andrea Tramonte, Unione Sarda )