La Piramide di Sangue – ‘Tebe’
La Piramide di Sangue is a seven piece psichedelic rock band with middle eastern influences from Turin, featuring members of other active bands like Movie Star Junkies, Love Boat and King Suffy Generator. The project started with the first solo cassette from member Gianni Giublena Rosacroce (clarinet, percussions), a mixture of middle eastern melodies, mediterranean folklore and spiced teas. The thing soon became a full band including two guitars, two basses, percussions and synths. Thousands of perfumed rivulets invade the city streets of Turin and meet below the Egyptian Museum becoming stronger and melting into furious anthems. La Piramide di Sangue is a mosaic of meditative and restless sounds with no sonic boundaries which embrace spores of psychedelic rock of all ages, mediterranean cultures and wah-wah explosions. The record has been recorded live at Blue Record Studio in Turin in one take. ‘Tebe’ is released in a 500 copies red vinyl limited edition, co-produced with Sound of Cobra from Berlin.
Luciano Maggiore and Francesco Brasini – ‘How to Increase Light in the Ear’
Luciano Maggiore and Francesco Brasini returns with a new record on Boring Machines after their monumental Chasm Achanes of 2010. ‘How to Increase Light in the Ear’ is the second release on Boring Machines by the duo part of the fertile Bologna (IT) area where sound/art projects like Xing/Raum, Netmage and Santâ€™Andreadegliamplificatori are run by a community of forward thinking artist and musicians to create a meeting point for different languages and sensibilities. As for its predecessor, this record has been created using tape recorders and several electronic devices (Maggiore) and a number of self-built guitars (Brasini), under the control of Mattia Dallara who gave shape to the sound in the acoustic space from the mixing board. While the previous Chasm Achanés was based on low and rumbling frequencies, Maggiore and Brasini research is now focused on high pitched waves, through which they create a continuous movement of overtones and resonances. Tiny mechanical cracks are heard through the frequency bliss of the first track, a last resemblance of humanity into this otherwordly atmosphere. The second track has a continuous click, almost a clock, hidden under the microtones of three different frequencies which create another blissful and luminous drone with an ecstatic feeling. When the track is almost coming to an end, a monstruous bass frequency, who lied in the background forever, finally comes in, changing shapes and colours of the drone. Headphone listening is recommended.