Izvajalec: Non Credo
Založba: Musea
Izid: year
Ocena: 4.5/5
Po izjemnem albumu Happy Wretched Family, se dvojec Non Credo iz Los Angelesa, ki ga sestavljata Joseph Berardi in Kira Vollman, vrača na glasbeno sceno. Trajalo je več kot deset let, da je nov izdelek ugledal luč dneva. In tako se poraja vprašanje: Se je splačalo počakati? Če bi odgovoril po prvem poslušanju, bi verjetno rekel ne, zdaj pa je odgovvor popolnoma drugačen. Odvrzite vsa svoja pričakovanja in prekoncipirane glasbene ideje, saj jih bosta Joseph in Kira razbila. Tudi tisti, ki skupino poznate, boste verjetno presenečani nad tem kar je slišati, nemara celo razočarani. A ne obupati, le vztrajajte in na koncu bo trud poplačan. Resda je Joseph Berardi za ta izdelek na žalost čisto opustil svoje bobnarske sposobnosti, prav tako ni praktično nič kitare in že zaradi tega je plošča nekonvencionalna, a album ima neverjetno globino, ki se razkrije po večih poslušanjih in tega so sposobni le najboljši.
Tokrat se je dvojec odločil za precej drugačen pristop kot na Happy Wretched Family. Manj je rockerskih delov, bobnov pravzaprav sploh ni več, le razna majhna tolkala, ki pa kompleta bobnov ne morejo nadomestiti. Kira Vollman tokrat pride še bolj do izraza. Njene vokalne akrobacije so še bolj divje in nepredvidljive. Predvsem je manj čistih melodij in več eksperimentov. Spet bodo prišli na račun ljubitelji Christiana Vanderja in njegovega kričanja ter Dagmar Krause (Art Bears). Poleg vokalnega norenja dosti uporablja tudi svoj čist operni vokal, ki v navezi s klasičnimi klaviaturami in pihali deluje na trenutke prav klasično. Ta dvojec bi brez težav lahko izdal tudi klasični album. Če že pogrešam rockerske trenutke, pa je vseeno dovolj avantgardnih delov, tako na klaviaturah kot na vokalih, tako da ni bojazni, da sta zašla čisto v klasične vode (vendar ste to lahko razbrali že iz komentarjev o kričanju, ki ga v klasiki ni ravno pogosto zaznati). Res je, da ni rockerskih momentov, vendar pa se sčasoma na to navadiš in glasbo sprejmeš takšno kot je. Lahko vidiš njeno lepoto in njene vrline, ki so drugačne od Happy Wretched Family, a zato nič manj impresivne.
Kot že na Happy Wretched Family, so besedila tudi tokrat spet pomembna. Kira Vollman zna s svojimi besednimi čarovnijami res narediti izjemne atmosfere. Izjemno se zna poigrati z besedami in ustvariti temačen svet, ki je včasih obrnjen na glavo. Včasih so njeni teksti tudi kar malo bolani in grozljivi, vendar to je vse del skupne katarze, ki jo dvojec nudi v glasbeno-besedilnem kontekstu. Kira včasih tudi prav zapeljivo govori z naglasom kakšne južnjaške lepotice in kontrast med njenim privlačnim glasom in grozotami, ki jih včasih izusti, je sila prepričljiv.
Ta, zadnji Non Credo album (doslej) je mogoče manj dostopen kot predhodnika, vendar pa se v njem skriva obilo čarov, ki so sicer precej drugačni kot na preteklih dogodivščinah tega dvojca. Sprva se mi je plošča zdela nekoliko premalo rockerska in preveč klasična ter avantgardna, a ko prebiješ tisti mentalni zid, ki te ovira pred odkrivanjem tako zele drugačne glasbe, potem je lažje. Tudi ljudje, ki radi poslušajo eksperimentalno glasbo imajo včasih v glavi že vnaprej določeno predstavo kakšno eksperimentalno glasbo bi želeli slišati. Tako je bilo tudi z mano. Impropera ni spadala v kategorijo, ki bi mi izrazito ustrezala. Na srečo pa se (tokrat) nisem prepustil svojim predsodkom in sem pustil glasbi, da se prikrade do mojega srca. Ni mi žal, saj je Impropera čudovit album, ki bi znal s svojimi eksperimentalnimi deli koga prestrašiti ali koga že po parih minutah prepričati, da to ni glasba temveč hrup, a če imate radi eksperimentalno glasbo, predlagam, da se le potrudite, ker boste na koncu bogato poplačano. Tisti, ki pa imate radi glasbo, ki lažje steče, pa vam tega albuma ne predlagam.
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After the brilliant Happy Wretched Family, Non Credo, a duo from Los Angeles, made up of Joseph Berardi and Kira Vollman, returns to the scene of the crime with a new album. It took them more than ten years for this album to see the light of day. So, the obvious question is: Was it worth the wait? If I had answered after hearing Impropera for the first time, my answer would be no, but now I feel completely different. Let go of all your expectations and musical preconceptions because Joseph and Kira will destroy them. People who know the band might also be surprised by the music, or even disappointed, but do not despair, your efforts will be rewarded. It is true that Joseph Berardi unfortunately completely disregarded the drum kit for this effort and the guitar is almost non-existent as well. The record is already unconventional because of this, but the album hides amazing depths that can only come to the fore after several listenings. Only the best musicians are able to conjure up something like this.
This time, the pair decided on a radically different approach than on Happy Wretched Family. The rocking parts are almost completely gone and so are the drums. Kira does use some percussion, but this cannot replace a drum kit. Kira’s voice is therefore even more exposed. Her vocal acrobatics are even crazier and more unpredictable. There are even fewer pure melodies and there is more experimenting. Lovers of Christian Vander’s screeches and of Dagmar Krause’s style will most certainly enjoy this. Besides the vocal havoc, Kira also uses her crystal clear operatic voice, which, combined with the keyboards, makes the music sound almost completely classical at times. If the rock moments are missing, the avant-garde elements are still thick and fast, both when it comes to the keyboards and the vocals. Despite the absence of rocking moments, there is plenty going on with Kira’s beautiful operatic voice, the classical keyboards and the avant-garde segments. Eventually, you get used to how different the music is and accept it for what it is. Its beauty and virtues, although different to Happy Wretched Family but equally as impressive, come shining through.
Just like on Happy Wretched Family, the lyrics are important here as well. Kira Vollman knows how to weave some magic with the words she uses and is able to create some outstanding atmospheres. She is able to create a dark world that sometimes seems turned upside down. Her lyrics can be a bit twisted and frightening at times, but that is all a part of the catharsis that the lyrics combined with the music are able to generate. Kira also occasionally uses a seductive Southern belle accent and the contrast between some of the monstrosities she utters and the attractive voice is highly convincing.
This album by Non Credo may not be as easily accessible as its predecessor, but there is a great deal of charm in the music. The qualities are simply a bit different than on the previous efforts of this pair. At first, the record seemed a bit too classical and avant-garde and I thought it was sorely missing the rock element, but on subsequent listenings, once you get past that mental barrier which disables you from discovering music that is so different, it becomes easier. Even people who are into experimental music have preconceptions as to what experimental music should sound like. It was like that with me. Impropera didn’t fit into that category which would specifically suit me. But luckily, I got past my prejudice and let the music crawl under my skin and into my soul. This was very fortunate because Impropera is a glorious album, which could easily frighten people away after only a few minutes with its heavy doses of experimenting. If you like experimental music, I urge you to make an effort with this album because you will reap the rewards later on.
Zasedba
Joseph Berardi – klaviature, vzorci
Kira Vollman – vokal, bas klarinet, tolkala
Produkcija
Non Credo
Seznam skladb
1. Prima Punta
2. 8 Bit Whore
3. Hubris and Greed
4. Bella Donna
5. Trouser Role
6. Faux Afro
7. Deep, Deep Down
8. Via Nino
9. Heaven Help Us
10. Interval One
11. Sicka Siam
12. Stock and Trade
13. Sleeping Beauty
14. Odor of Sanctity
15. Interval Two
16. Faux Cazzo
17. Laptop Dance
18. Vienna Fingers
19. Epilogue
