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Recensione su A Sense Of Loss - by Stefano Fasti

Friends, on the occasion of the new (and third!) Nosound of studio work, here's the review for Stefano Fasti published Music History:

The goal of the third album for Nosound is not only a natural progression in a course record, but this marks a change of pace that makes it seem like the Previous work in the studio far, far more than it actually is the distance in time spent.

the past two years by "Lightdark" (2007), the band has thickened experiences such as to accelerate the normal process of growth: a role in this was definitely played the match leader Giancarlo Erra with Tim Bowness (vocals and melodic soul of No-Man and owner of the label Burning Shed), but also the very nature of Erra, who guided him to not compromise away from the high professional standards he set for himself. The restocking the stable KScope was achievement a goal that a few years ago would have seemed just a dream.

But "A Sense Of Loss" is a dream come true: the band, stable in training (Erra, Paolo Martellacci, Alessandro Luci, Gigi Zito, Paul Vigliarolo), in addition to achieved a complete harmony sound has opened a string quartet of the graft (the Wooden Quartet, directed by Henry Razzicchia) that plays an important role in the resolution of songs: so far for any guitarist would have been impossible to avoid the temptation to a solo, Giancarlo demonstrates how you can manage to evade every rock cliché senza perdere un grammo di energia, di pathos, di totale pienezza. "A Sense Of Loss" non è un disco rock e neppure post-rock (come si dice da più parti): "A Sense Of Loss" è un disco denso, stratificato, dotato di una dimensione sonora profondissima, il cui impatto è notevole anche in brani in cui la chitarra elettrica non c’é affatto e in cui la batteria o è assente o ha un ruolo apparentemente marginale. E’ un poderoso autoritratto di un’anima dolente (appunto quella di Erra, compositore unico e suggeritore unico degli altri attori protagonisti del suo malinconico teatro sonoro), un’anima stavolta in grado di denudarsi interamente, per permettere ad ogni singolo brano di essere una rivelazione.

And every song makes its mark, in what could be an album themed on the posting (love, human) and the overcoming of it. The dominant view of his music evolves from the concept of refinement twilight of those No-Man, between ice and fire from the suggestions submitted by Sigur Ros, from slow emotional uprisings of Bark Psychosis, from deep roots like those of musical research paths opened by Brian Eno or David Sylvian. But these fleeting impressions that fade as soon as you are immersed in music. In the previous "Lightdark" there was already a "bridge" to "A Sense Of Loss" and this bridge si chiamava Kites. Da lì scaturisce tutto il senso del nuovo lavoro: ogni composizione corrisponde a uno stadio di evoluzione nella modalità di espressione del dolore. Una scultura musicale modellata attorno alla sofferenza.

Ogni traccia è dunque un solco impresso, fino alla lunga cavalcata finale (Winter Will Come), nella quale l’abbandono cantato, suonato, è assoluto, ineluttabile, definitivo. Ma necessario, come necessario è l’ascolto di "A Sense Of Loss". Un album distante da mode, che rifugge da qualsiasi facile inquadramento, nel momento in cui sembra messo a fuoco. Una unica avvertenza: il disco richiede l’ascolto Full and courage to tune their own emotional stories with those told, sung, played, not in an attempt to exorcise the ghosts, but the reality.

And there 's also a video available on Youtube: "Constant Contrast"

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Recensione Lightdark up - by Stefano Fasti

Dear friends, here's a new review of work on the second Stefano Fasti nosound in the study, published in OndaRock and Wonderous Stories:

Nosound are back, three years after the debut of "Sol29. The first news is immediately noticeable that we can now speak and write in the plural: the Nosound of "Lightdark" (accepted in the sophisticated team of Burning Shed) did not exist when "Sol29" came to life. Nosound amounted to Giancarlo Erra's solo project, guitarist / keyboardist able to compose symphonies small minimal, never follow the transport to the solo that often so the keyboard as the guitar, all too frequently, can not resist. But through years of experience live, Erra has found new chums (never simple soldiers) are able to share that idea and implement it with a musical sound finally complete, but without distorting the initial application.

And so in every fold, in every crevice of "Lightdark, in every shade of color turns out to be the actual essence of a formation that does not deny its influences and who seeks, in its way, its own way of expression without the emphatic desire to dazzle with special effects. A judge this micro-universe is full of psychedelic minimalism, capable of buoyancy as descendants of rarefactions, inaugurating a unicuum where the melancholic is perhaps the hallmark. A concrete case of syncretism between the No-Man, Bark Psychosis, Pink Floyd, Brian Eno (with Moebius and Roedelius), David Sylvian, Steve Hogarth of Marillion, Sigur Rós, yield more concrete by the cohesion between the members of the group.

The propulsion of pure rock Floyd "Places Remained" give the initial and tear open, like a knife, a wound in the fabric on which an emotional song cardinal as "Someone Starts To Fade Away" (with Tim Bowness of No-Man on vocals) spreads, with making persuasive, handfuls of salt. The legacy of the best progressive (not a rhetorical figure consisting of the "cauldron progressive," but the true essence of progressive, with the amazing emotional, not technical noise) explains its wings in a long "From Silence To Noise", rising to levels not exactly the usual prog and at the same time, inconceivable post-rock (whose shores are lapped by the well Nosound): reminiscences of things, hours, days, faces, innocent dreams may never be forgotten, but buried by the weight of years, but tangible in the colors and smells, they reappear in the form ghost guardians.

sylvianiche The evaporation of "The Misplay" (and the piano and cello, which gives them the breath of life) and then propel the memories in a timeless limbo of the past where the river is lost in a thousand streams of possible futures. Then forcefully "Kites", another track capital, reveals a whole idea, a vision, a way of thinking about music that is not afraid to expose themselves to the wind, currents, comparisons, without the fear of this permanent exhibition of feelings and without any shame for this nakedness of the soul. "Lightdark" also knows how to be gracious and instead of leaving the listener in this state of sensory emotion, you know give the peace with a title track which is an invocation to the ambient upper echelons of the cosmos.