It 'hard to review this diverse and diffuse new album NAMB
BMAN out, at first in Italy and Europe in October 2009 and February 2010 in the U.S., the UK Monotreme Rec and at a distance of four years from the album s / t debut came out, however, for Mescal.
E 'an ambitious project, a concept album of 18 songs that well, in the wake of Wall-e , narrates the adventures of a little robot named BMAN to discover himself and what remains of 'humanity.
This was one of the first things to very curious because it sees the interaction between music and graphic arts, having, BMAN, taken shape and life, on paper, in the able hands of Maq4ka , in a sort of what might be called music- novel, that is, a graphic-novel transposed within the sound: not a novel or story, in this case, to be turned into comic book but a play to become a musical illustration and the illustrations themselves, in return, to inspire sound material. Musically speaking the
NAMB stands on which the band reserve a halo of mystery and democratic "is whatever you want", born in Turin around to 2004 and currently have the following line-up: David Tomat (vocals, guitar, programming, chimes, drums), Gabriele Ottino (vocals, guitar, Farfisa, programming, bass, drums), Silvio Franco (bass, guitar, synth, piano, programming) and Davide Compagnoni (drums, programming, loop station).
In this new work, leaving the Italian mother tongue used in the first album, except for the brilliant piece of music and staring in cigarette break in favor of English for a broader international level, although some American critics will be silent to use inappropriate language and nonsense.
Delving into the definition of genera is rather difficult undertaking: there is certainly a basic electronics, psychedelic rock, a pinch of industrial, indie and a dressing of a taste of Italian origin inevitable. From beginning to end of the disc do not you see if the mainstream music disguised as a music niche or, conversely, the alternative music that gives a nod to the more pop side. Making them sui generis, but also lined up a little and hardly usable on both sides of the public, be it underground or, indeed, popular.
What comes to me, as a first impact, is this mix of feelings: it seems that NAMB are elaborating a more modern version (and less song-forms) of of U2 Acthung Baby, played a bit 'by Subsonica and a bit' by Nine Inch Nails , played a bit 'from Mike Patton of Peeping Tom and a bit' by John De Leo of Quintorigo , loudly supported by Primal Scream and a plethora of toy-distorted sounds and chimes sick and drunk.
If you're wondering if the album I liked it or not, honestly, I can not understand it yet either. I still listen with pleasure, a little 'love and a bit' with reservations.
Surely with such a great admiration for fertility production, for the crystalline beauty of sound and painstaking care mixing and mastering.
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