-=- SHGZ -=-
* Shoegaze * Indie * Post-Rock * Grunge * Dream Pop * Psych-Rock * Ethereal *
ARTIST..: Pilia + Pupillo
ALBUM...: Dark Night Mother
GENRE...: Ambient
STYLE...: Drone, Chamber Music, Folk, Electronic, Electroacoustic
YEAR....: 2018
LABEL...: Offset
COUNTRY.: Italy
PLACE...: Stefano Pilia - 1978, Genova, Liguria
PLACE...: Massimo Pupillo - 1969, Roma, Lazio
LANGUAGE: Various
ENCODER.: FLAC 1.3.1 -8 -V
BITRATE.: 733 kbps avg
QUALITY.: 44.1kHz / 2 channels
SOURCE..: CD
TRACKS..: 7
SIZE....: 218.96 MB
URL..: http://www.facebook.com/PiliaPupillo
- TRACKLIST
1 Dark Night Mother 3:38
2 Weeshdeen 10:46
3 Orion Children 6:16
4 Black Moon Lilith 6:14
5 Oxun 4:46
6 Fatima Gate 4:55
7 You Are Afraid Of Burning In Your Own 3:48
Fire
Total Playtime: 40:23
NOTICE: Artist name is a symbol aka Pilia + Pupillo aka Stefano Pilia & Massimo Pupillo
https://off-set.org/portfolio/stefano-pilia-massimo-pupillo-dark-night-mother
https://offsetrecords.bandcamp.com/album/dark-night-mother
https://www.discogs.com/artist/6511590-
*
Pilia + Pupillo - DARK NIGHT MOTHER
A project by Stefano Pilia and Massimo Pupillo
Official release on Consouling Sounds and Offset Records on the 21st of December 2018
Stefano Pilia and Massimo Pupillo:
acoustic and electric guitars, bass guitar, electronics, voice
Stefano Pilia and Massimo Pupillo:
acoustic and electric guitars, bass guitar, electronics, voice
with:
Alexandra Drewchin, voice on "Dark Night Mother"
Sandra Canessa, voice on "Orion Children" and " Fatima Gate"
Maestra Olivia Arebalo , voice on " Weeshdeen"
Lucinda Mahua , voice on " Oxun"
Cristiano Calcagnile, drums and percussions on "Weeshdeen" and "Black Moon
Lilith"
Recorded in various locations during 2014 and 2015: Paoyhan and Yarinacocha
(Peru), Bologna and Novate (Italy) , New York and San Francisco (Usa)
*
Massimo Pupillo and Stefano Pillia are both doyens of the Italian underground
scene and are serial collaborators. Here they merge their distinctive sounds
with the aid of some female vocal assistance to produce an album of wonderful
tones that, thanks to some exquisite production, just seems to seep from the
speakers into the room and surround the listener in a gentle cocoon.
Each track inhabits its own little worldThe songs are mainly guitar and drum
pieces, with a subtle drone in the background lending some texture to the
spare playing; but the deft manner in which the instruments are used and the
unique properties of the guest vocalists mean that each track inhabits its
own little world.
Opener "Dark Night Mother" features the dulcet tones of Alexandra Drewchin,
AKA Eartheater, and the purity and enunciation of her words along with the
soothing ebb and flow of the acoustic guitar seem to perch at the foot of
your bed as a fluid bass drone eases into the background with obscure
shadows. "You are the light of wisdom, taking away the confusion", she trills
as the music curls from the speakers, filling the room with half-dreamt
feelings of comfort.
There is an ache to it that demands empathy. The droning, Eastern-style
vocalising of Maestra Olivia Arebalo on "Weeshdeen" has a very different
feel. There is a nasal quality here that doesn't soothe, yet there is an ache
to it that demands empathy. Ironically, the backing that the duo has chosen
to perform here is that of a lullaby. The shuffling drums of Cristiano
Calcagnile are reminiscent of Jim White, with the most delicate of cymbal
brushes holding the hushed guitar in a warm embrace that is not too stifling.
The track drifts and at times the vocal grows silent and then returns, but
with the addition of what sounds like an insect squeaking and this does just
enough to cause a bit of tension in the sound. Massimo and Stefano want to
treat you, but I don't think that they want to make it too easy. There has to
be a little something that ensures that the track stays in your mind.
Twin guitars move cautiously around one another on "Orion Children", strummed
and struck in a series of sparkling explosions like tiny Catherine wheels as
Sandra Canessa's vocal (a languid breath that soothes the beating heart)
entwines itself around the American primitive-style sporadic guitar lines.
There is economy of movement in the desert guitar and traps of "Black Moon
Lilith", and as the song progresses, so the tension builds. The shriek of
train brakes is engulfed by the steamy hiss of a great locomotive, waiting
patiently in a one-horse town, the people and dogs watching the pressure rise
from under heavy eyelids. The dust and heat are almost palpable, and it is
this attention to production detail that makes the album such an engrossing
listen.
The campfire ritual of "Oxun" changes the mood again; this time, the distant,
haunting vocals are courtesy of Lucinda Mahua, and feel as though they are
coming from the treetops. Sandra Canessa beguiles us once again on
penultimate track "Fatima Gate", with a melancholy guitar run adding an
aching intimacy to the whispered chant. By the time the final track arrives,
the only one with a male vocal, this stunning combination of guitar, drums,
drone and voice has worked its magic, and drawn us into a world that is
gossamer light and thrilling, yet at times can ache with an unexpected depth.
It is a world well worth visiting and you will want to again and again,
because it feels as though it were constructed just for you.
-=- SHGZ -=-
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