Webramz blog

Alienazione

Music that paints…
elegant portraits of true stories…
care and sensitivity in describing images, people…. lightly brushing,
leaving to you the task of
imagining places and faces…
electro icicles mixed with warm classical guitars, synths, atmospheres
underlined with a fresh voice,
emotional, that accompanies the fragrant sonic settings, creating
the threads of this pattern
that floats between the past and the future,
between liquid crystals and soft lights…

Gian Nicola Libardi and Mikos Marsilli first gave life to this project in January 2006 with the release of their ep Identita’: a collection of tracks written during the preceeding years which served as a presentation. The ep was well received notwithstanding the fact that it was home-produced and contained a number of live recordings, as is demonstrated by the glowing Rockerilla review and the interest of Tommaso Bianchi who was to become the project’s producer. Since then the group has dedicated its time to the research of a sonic and compositive identity which gives prominence and importance to the lyrics, to emotions, to colours, to fragrances, to people… From this comes the sound of “Alienazione”, like colours on a canvas, like everyday people who become the heroes of our stories.

Radiohead

In Rainbows

A sigh of relief has come over me; the new Radiohead album is engaging. I can sleep again. Alright, so I wasn’t that worked up but I was slightly concerned about the band’s great track record being tarnished by the release of an inferior piece of music. Musical reputations are incredibly fragile. A decade of awesome music can be toppled like a house of cards with the release of a single flop (unless of course, it’s Pablo Honey).

In Rainbows has taken tried and true Radiohead dynamics and reinvented them as seen fit. Acoustic minimalism accompanied by elaborate orchestral backings… Is this possible? Radiohead makes it so! If any one musical entity were able to combine lo-fi and hi-fi into a single mid-fi-ish mix it’s Radiohead. Truly a fine wine that gets better with age; Radiohead are developing subtle tastes and nuances in flavor. Flavors of the past had put experimentation up front as the robust bitter flavor that coats the tongue and throat with pop being the after taste. Years of studio aging have reversed the taste; bringing the pop elements to the front and pushing the experimental flavors to the back of the palate.

In a lot of ways In Rainbows has only reaffirmed my previous assumptions as to what their new release should have sounded like. Radiohead fans are demanding; and for the most part, I think it’s safe to say that anyone that’s followed their music over the years has developed their own expectations of this band. And yet, somehow they’ve delivered to my ear drums what I’d expected without sounding predictable in the slightest bit. This is an album with a surprise factor unique unto itself. By already assuming that the album is going to be good (being the Radiohead fan that I am) and then having it turn out to be great has a lot to do with this feeling of contented splendor.

The implementation of mechanical percussion is abundant throughout the album. There have been a few moments in which I’ve found myself wondering where Phil is and what he’s doing. The bass lines are still perfect. Collin knows how to deliver just the right amount of bass without coming up short or going too far. He seems to know exactly what a song needs without trying to steal the spotlight. The blend of grungy guitars and background vocal chants are soothing to the psyche. It’s one of those albums that can be listened to directly or simply played in the background. I just wish the album wasn’t so short; It’s over before you know it.

All in all, In Raindows is a great album. It’s another artistic Radiohead muscle flex, letting the world know that they’re still here and doing what they do best; making good music. I would say go out and buy it but you can’t… log onto their website and download it at whatever price you see fit. I’m curious to see how they do financially with this album. We’ll just have to wait and see.

On that note, buying an album at my own price is a first for me. I know there are critics out there talking shit about how Radiohead won’t make any money by marketing their album this way. Those critics can eat a dick all day because Radiohead has essentially eliminated nearly every middleman in the music industry; by weeding out these unnecessary old relics of music’s past new methods of delivery are possible.

Release date: October 10, 2007
Label: Radiohead.
Rating: 8.0 / 10

On the web: http://www.inrainbows.com

[RMR]

Well, I really like this music and found a review of Uganda Music.

MUSIC REVIEW
29 December 2007
Posted to the web 31 December 2007

Moses Opobo
Kampala

The new trend in music that 2007 brought was the emergence of words hitherto unknown to the general public, or altogether non-existent, as catchy refrains to some of the year’s biggest hits.

This was a departure from the earlier form of the trend, which was popular with the fellows that do local country music (kadongo kamu). In the latter case, it was simply clever, sometimes outright vulgar, sexual innuendo.

Gerald Kiwewa can be said to be a granddad in this field, (Egaali Ekozeeko, Akameeme, and the extremely vulgar Akabimbi). Fred Sebatta has been there too, (Dole), as has Abdu Murasi (Farm), to mention a few. Well, these were not exactly new words created by these musicians, but powerful refrains that the public picked up and adopted. The only hitch is that your grasp of Luganda had to be good enough to decipher the messages veiled in the thick imagery. For instance, if you did not speak good Luganda, you only got to know what Sebatta means by “Dole”, or Gerald Kiwewa by “Egaali Ekozeeko” through a third party.

Enter the younger generation of pop musicians, and the trend had to be modified to suit their more varied audience.

Convinced that a double bed, rather than accord couples the ultimate comfort, actually ruins love affairs, musician Dr. Hilderman took to exposing the hazards of a double bed through song. Armed with enough info about the ravages of a double bed, Hilderman went scavenging for a word that would best summarise his problem statement. The word he picked up was “Mavolongoto” which, he says, is Luganda for “something that is negative and unacceptable in society.” To personalise the word and make it forever synonymous with his song, Hilderman modified it to “mazongoto”. And boy, did it do the trick! Soon every single one of us had incorporated it into our street lingo. Suddenly, describing anything extremely large as mazongoto was all the rage. There is actually an ad on radio in which a certain hotel boasts of rooms that are mazongoto, to mean spacious!

Read full story on: http://allafrica.com/stories/200712310165.html