Review: Berserk! (Lorenzo Esposito Fornasari and Lorenzo Feliciati)
RareNoise Records CD RNR031 Time: 49:41 (vinyl soon and hi-res digital)
http://www.rarenoiserecords.com/berserk and www.facebook.com/berserkband
Tracks: 1) Macabre Dance, 2) Fetal Claustrophobia, 3) Blow, 4) Not Dead, 5) Clairvoyance, 6) First, 7) Dream Made Of Wind, 8) Wait Until Dark, 9) Latent Prints, 10) Dream Made Of Water
Band: Lorenzo Esposito Fornasari (Voice, Electronics, Organ, Guitar) and Lorenzo Feliciati (Electric and Upright Bass) with: Gianluca Petrella: Trombone & Effects (tracks 1,2,4,5,7,10), Fabrizio Puglisi: Piano & ARP Odyssey (6,8,9), Jamie Saft: Keyboards (1,2,9), Eivind Aarset: Guitars (3,4,7,9,10), Sandro Satta: Alto Sax (3,9), Cristiano Calcagnile: Drums & Effects (4,5), Pat Mastelotto: Drums & Effects (6,8,9), Simone Cavina: Drums (1,2)
Lorenzo Esposito Fornasari aka LEF and Lorenzo Feliciati form the core of Berserk!, along with some other familiar names in the RareNoiseRecords stable, including Feliciati’s fellow Naked Truth bandmate Pat Mastelotto.
We all need a venting catharsis now and then—some folks resort to primal scream therapy, but generally I’ll pick music to assist with exorcising my darkened bilious tendencies. The new self-titled album from Berserk! seems like an effective cure for those intractable days when the pile gets too deep and the unrelenting Myth of Sisyphus comes to mind. Despite the band and album moniker, there is a broad mix of dynamics in the album and it’s marked by many (nearly neck-snapping) contrasts in sound and rhythm.
Berserk! isn’t a broad spectrum motoric assault on the senses, but it deftly selects its points of release, building like a suspense thriller with the rage boiling over every so often. The album also teases and mocks (from the gently maniacal whistling in the opener Macabre Dance to the background telephone ringing in Fetal Claustrophobia…yes, I turned my head to see if my phone was ringing!). There’s also a brief moment of saxy playfulness (albeit dark) in the reflective interlude Blow before entering the backstreets and dark alleys of Not Dead (shades of the growling Tom Waits and Sparklehorse duet Dog Door from the 2001 album It’s A Wonderful Life) with raspy voices and clusters of percussion pushing against an unyielding darkness.
Feliciati’s bass work throughout the album is reminiscent of Percy Jones’s work with Brand X, particularly the earlier freer-form improvised and less commercial version of “The X”. The aggressive horns, meandering piano, fast-changing rhythms and moods (as in Fetal Claustrophobia) also remind me a great deal of one of my favorite King Crimson albums, Lizard (under-appreciated until Steven Wilson remastered it with Robert Fripp). The treatment of Gianluca Petrella’s horns throughout much of the album often sounds like the thundering Mellotron horns used in Lizard. The sharp inventive contrasts in instrumentation also remind me of Frank Zappa and early albums by Godley and Creme (as in the albums L and Freeze Frame). Yet, there’s little humor in Berserk!—the focus is strictly business.
The middle portion of the album is furtive and contemplative in spirit (like the tracks Clairvoyance and First) and eventually LEF’s vocals (sung here, not spoken) break through, channeling John Wetton. Note: Don’t forget to listen for R2D2. There’s a brief pause (the calm before the storm?) with ethereal atmospherics and horn work in Dream Made Of Wind before the closing section of the album begins with a tender solo piano largo and transition to a massed rhythmic vocal and ultimately a full band assault in Wait Until Dark leading into an alto sax ensemble of Latent Prints (the feeling of KC’s Lizard returns) and moves into a roaring full-clustered rip. The album closes with the ominously thunderous and raging vocal domination of Dream Made Of Water—there’s the Berserk!
Had a tough day in the trenches? Hold the rage at-bay (warn the neighbors, shut the doors and turn up the amp) and have a listen. I think you’ll feel better.
Lorenzo Feliciati and Lorenzo Esposito Fornasari – Courtesy of RareNoiseRecords
This is a solicited review.
Review: Naked Truth – Ouroboros
RealNoiseRecords RNR029 (CD & Digital) Time: 49:51
Record Label Websites: http://www.rarenoiserecords.com/
Sound Samples: http://www.rarenoiserecords.com/jukebox/naked-truth/ouroboros/
Tracks: 1) Dust; 2) Dancing With The Demons Of Reality; 3) Garden Ghosts; 4) Orange; 5) Right Of Nightly Passage; 6) Yang Ming Has Passed; 7) In A Dead End With Joe; 8) Neither I
Ouroboros, the eternal consuming and replenishing serpent can be seen in the singular (nothing outside of itself) or in a broader societal context. In this case, my interpretation is more of a collective urban consciousness. This is an album of motion, not of rest, an album of experiences, not of contemplation (at least until after the intense experience is over). It’s a fusion-brew of industrial, urban and cosmic sounds, and a potent follow-up to the 2011 album Shizaru (the lesser-known fourth primate of see, hear, speak, and DO no evil).
Graham Haynes has joined the Naked Truth quartet on electric cornet and trumpet (following Cuong Vu’s departure) along with original members, King Crimson alum drummer Pat Mastelotto, English keyboardist Roy Powell, and Italian Lorenzo Feliciati on electric bass and guitars.
Shizaru from 2011
First a warning: Prepare your audio system (and your ears) for a workout. Ouroboros will shake out the cobwebs. The opening track Dust is the warm-up, the testing of the systems. It’s a more keyboard dominant, brass punctuated bookend before entering the fuzzed sonic maelstrom. It has the atavistic fibers of many eras, and I’m old enough to have been around for the many incarnations of King Crimson, Weather Report and other Jazz-Fusion, Progressive Rock variants, and it’s all there–the solid musicianship and the sometimes angst-filled drive. There’s also a hint of Miroslav Vitous’s 1976 spacey funk inspired album, Magical Shepherd.
Track One: Dust
Next, place yourself in a traffic jam with an impetuous case of not-so-mild road rage (in the aggressive spirit of KC’s Neurotica, sans vocals), and that’s Dancing With The Demons Of Reality. The pauses are the waiting at traffic lights, restoring momentary sanity, but tension builds with pressurized chromatics, electronics and percussion before subsiding. Garden Ghosts is a respite; at first a progression of sonic fragments, a meandering prepared piano, percussion and fuzz-bass. The trumpet is the roaming spirit joined by a languid beat, murky electronics and guitar background; ultimately it ends as a brass-teasing percussive danse macabre.
At the start of Orange it’s disguised as an atmospheric piece, a quiet evening perhaps—serenade with cornet, but then diverts quickly with syncopated rhythms (bass, guitar and keyboards reminiscent of Kazumi Watanabe’s work), before returning to the more sedate themes. Right Of Nightly Passage is an instrumental recasting of the driving rhythmic “heat in the jungle” anagram. Clustered horns interlace with the cadence of the frenetic scene. The spirit of Miles Davis’s later more electronic work is channeled in Yang Ming Has Passed. It’s a menacing and deeply rhythmic piece (sounding like it could be dock-side in a shipping yard) with traded riffs between bass, percussion and trumpet meshed together by a high-cover of electronics.
The heavy backbeat continues in the darkly raucous In A Dead End With Joe. The trumpet soars and trills against the syncopated drums, electric guitar and keyboard phrases. Neither I is the other keyboard-textured closing bookend of the album. It displays some Far Eastern influences, and is more experimental and atmospheric with clustered brass, melodic percussion and roving piano before finding its beat. By contrast to the rest of the album, it closes with a gentle yet furtive purity.
Ouroboros is an adventurous and deliciously brash album that reveals glimpses of the eternal and sometimes daunting cycle of existence from different perspectives. Naked Truth is a sturdy, tight and vibrant quartet, and I’ll be very interested to see and hear where they take us next.
Naked Truth – courtesy of RareNoiseRecords
This is a solicited review.
Lorenzo Feliciati – Frequent Flyer
CD: RareNoiseRecords RNR023: 49:38
Record Label Website: http://www.rarenoiserecords.com/lorenzo-feliciati-store/frequent-flyer-cd
Album samples: http://www.rarenoiserecords.com/jukebox/feliciati/ff/
Artist’s Website: http://www.lorenzofeliciati.com
Italian bassist Lorenzo Feliciati is better known in European modern Jazz circles than in America and elsewhere. His previous solo albums include, Upon My Head from 2003 and Live at European Bass Day and More from 2006. More recently, he collaborated with English keyboardist Roy Powell, trumpeter Cuong Vu (who has worked with The Pat Metheny Group) and drummer Pat Mastelotto (King Crimson’s drummer in line-ups 5 through 7 and ProjeKcts) under the moniker of Naked Truth with a strong and intriguing album entitled Shizaru also on the RareNoiseRecords label.
Shizaru was crafted around no single voice—more like a musical conversation built around varying moods. For Frequent Flyer, Feliciati has not strayed from that concept, adding an even more diverse set of collaborators (many of whom are from the Italian Progressive Rock and Jazz scene). This is an album that blurs genres of Rock, Fusion, Funk, Jazz and includes the edges of Latin and Afro-Cuban sounds. Comparisons of Feliciati’s work have been made to bassists such as Jaco Pastorius and Percy Jones, but technically and stylistically, my vote is for Jeff Berlin (with some influences of Miroslav Vitous).
The subtitle of Frequent Flyer also reveals, I think, something more about the background of the music: Diary of a Traveling Musician, not only documenting the quotidian aspects of diaries, but perhaps disclosing thoughts and desires related to the foundations the work. Musically, Frequent Flyer is as diverse as the moods one might find within a written diary. Feliciati has noted that, “I wanted to do an album with all the wonderful musicians during my traveling around for gigs, festivals and sessions.” Portions of this album had actually been recorded prior to the start of the Naked Truth project.
There are many strong pieces in Frequent Flyer, some more favorable to my ears than others. Two tracks (as noted below) seem a bit underdeveloped in structure, and thus held my interest less. But as with all music, first impressions of an album are often not the lasting impressions after repeated auditions. This album has grown on me as I have listened to it in different environments (home, car or walking). What I appreciate the most is the range of explorations in addition to Feliciati’s musicianship.
The Fastswing Park Rules: At first I was fooled–by the mournful saxophone opening (being reminiscent of Bill Bruford’s Earthworks’ It Needn’t End In Tears), only to be lured into a dark and industrial atmosphere of expansive saxophone, bass and percussion improvisation.
Groove First: Is a very playful, funky and cheerful piece, with melodic and rhythmic shifts reminiscent of Percy Jones and Stanley Clarke and quite similar in many ways to the spirit of some of Brand X’s Moroccan Roll mixed with some Return to Forever and Weather Report. Fender Rhodes and congas provide vigorous and upbeat counterpoint throughout.
93: Is a really great and lyrical piece with dense textures and a deliberate syncopated rhythm that is reflective yet mysterious and is expansive in its arrangement (with a touch of melancholy, in instrumentation, akin to some of the work of the late Mark Linkous, AKA Sparklehorse).
Riding The Orient Express: Percussion and guitar are used to represent the presence of a train and there are breaks where the bass takes the melody. This has some of the feel of Steve Hackett’s recent work in his album Out of the Tunnel’s Mouth. The development of this piece, however, seemed a bit plodding and thin–one of the weaker pieces on the album, for me.
Footprints: Is a very inventive, and fun (yes, I said fun!) arrangement of Wayne Shorter’s piece from the album Adam’s Apple originally by the quartet of Shorter, Hancock, Workman and Chambers. It really shows Feliciati’s quick-hands, musicianship and interpretive skills quite well. In this version, Feliciati takes the Shorter sax melody on bass and is supported by spirited Brazilian-like ensemble percussion. I found a video version of this piece—a great illustration of the spirit of this track.
Never Forget: Is mysterious, edgy and atmospheric. Bass and electronics punctuate as Cuong Vu’s trumpet floats between diaphanous spirit and sinister animal. This is another great track with expansive cinematic qualities.
Gabus & Ganabes: Is spunky and rhythmically driving with bass chordal and melodic drifts and violin work by Andrea Di Cesare reminiscent of Jean Luc Ponty’s mid-career works.
Perceptions: Is contemplative with a piano opening similar in spirit to some of Harold Budd’s work and forms a backbone for this meditation with fluid bass improvisation and sound samples by DJ Skizo.
The White Shadow story: Is funky, visual, electronic, buzzing and starts off brooding, then goes up-tempo with a ripping guitar solo.
Law & Order: This track is the other weaker piece on the album (and that’s my opinion only), it’s rather plodding and a bit too methodical despite the challenging bass and organ runs, which are supported by percussion and guitar. Some might see some similarities with works of Emerson Lake and Palmer.
Thela Hun Ginjeet (for those in-the-know, an anagram of Heat In The Jungle, the story of street encounters with authority): Is a driving cover from the 1981 King Crimson album Discipline. The story I’ve read is that this piece is often played by Feliciati and band mates during sound checks. I’ve always loved this KC album, and this is a great interpretation of the original with some incredible handwork by Feliciati, Gualdi and Block.
Frequent Flyer is an energetic, musical and diverse album to explore. It has great dynamics and a solid sound throughout. I always enjoy being pushed into new musical territories and Lorenzo Feliciati’s travels with a talented group of musicians is a great introduction to his work and influences.
Tracks and players:
1) The Fastswing Park Rules with Bob Mintzer (saxes) and Lucrezio de Seta (drums)
2) Groove First with Roy Powell (Fender Rhodes and Moog) and Paulo La Rosa (percussion)
3) 93 with Pat Mastelotto (drums) and Aidan Zammit (Wurlitzer and strings)
4) Riding The Orient Express with Pat Mastelotto (drums) and Phil Brown (guitar)
5) Footprints with Robert Gualdi, Stefano Bagnoli and Maxx Furian (drums)
6) Never Forget with Cuong Vu (trumpet), DJ Skizo (turntables) and Pier Paolo Ferroni (drums)
7) Gabus & Ganabes with Patrick Djivas (bass solo) and Andrea Di Cesare (violin)
8) Perceptions with DJ Skizo (turntables) and Pier Paolo Ferroni (drums)
9) The White Shadow story with Daniele Gottardo (guitar), DJ Skizo (turntables) and Pier Paolo Ferroni (drums)
10) Law & Order with Jose Florillo (Hammond organ) and Daniele Pomo (drums)
11) Thela Hun Ginjeet with Roberto Gualdi (drums) and Guido Block (bass, lead and backing vocals)
This is a solicited review.