Instrumental post math-rock vibe, tinted with a slight psychedelic pace. Cinematic cut, fuzz-abrasive ouvertures versus delicate downrights, from Florence, Italy, four piece band Qagliostro debut with this digital release titled Baden Baden. Where Places des Vosges and Dissolvenze mire to go off down big screen's wandering detours of Tarantino, engaging mellow intro's and epic outro's, Surf Ace winkles, carefree, and maybe with too much lightness in the direction of surf music, title song Baden Baden works better on the discipline of angularity and clanky guitar/bass grooves narrative. Maybe with a more martial attitude and more wet on their fuzz pedals they would have reached a richer climax, able to catch the best of those music hooks they want to capture the listener's imaginery. That subtle, dangerous swinging through the boundary of psychedelic and soporific with Sottocoperta. A good record. Technical, cut to intensity, rhythmically not dense: their nice touch of poetry paints atmosphere of continuous cathartic breakdown passages. Yet, not that brutal to be incendiary.
You know, a friend of mine told me that instead of watching porn when alone, he listens to jazz music. He does blast jazz music only when alone. His wife won't dig jazz music, from Bill Evans to - our contemporary - Jeff Parker. No way. 45 secs of it are enough. And, wait, I fully and totally understand her reason why. Jazz is so selfish, even when so elegant, it's jazz-centric even when it's contaminated and tries to hide its orientation, and it's unbearable with all its free outro, the deconstructing wow crescendo, and all those virtuoso/virtuosity, no matters what instrument will go on solo. Narcissist, onanist music? Jazz music. My explanation and my two cents. Still, when its absurde pretence of self-reference abandones to self-hypnosis of melodius carnality, like with this brilliant work, The Relatives, it totally gets him and makes my friend want to join the band. Still, secretly, - no one else is around. He starts jamming.. with the movement of his head, he even pretends to be properly able to follow the flow with his kranky guitar. He uses preucations: headhones. It grows on him and makes him want to dare this eccentricity of a wrong, oblique music sensuality: When Did You Stop Loving Me, When Did I Stop Loving You, or the cool vibe of Beanstalk. Sounds classic, still it flirts with modern jazz retrofuturism (The Relative). It makes me want to read a book and drink something warm. Can jazz be modern, today? Like a 40 year man enjoying contemporary jazz. A good work indeed, mr Parker.
""Aglio e Olio" means "Garlic and Oil" in Italian, a reference to one of the simplest pasta dressings used in Italy." (cfr) -, that's not exactly true: you must pay attention to not burn garlic, and the correct amount of oil makes the difference. Here's, one more time, how Beastie Boys made a difference in music history. Hardcore punk delicacy served. And it has aged until today so good. My two cents.