Ultimately, milano is both more focused and potent than rome that luppi made with jack white and norah jones, and danger mouse behind the soundboard and his choice of cohorts this time around is the prime reason for it. it's a short and sweet album that doesn't let either its source material or participants' capacity subvert its simple pleasure. the album's short run (under a half hour), gives it an economy of movement that prevents any of its moving parts from tumbling into excess. the tune is all sharp piping sax and a rhythm section that refuses to settle into a steady groove, its angled frame more than reminiscent of james chance and his musical contortions. Milano's closer 'cafe flesh' is a high point and another little panegyric to an old new york dignitary. still, it's nice to see her back freaking out in the guitar frame, especially since the latter part of her career has been spent vainly flailing in wishy-washy electro pop. but on tracks like 'flush,' her shrill anxiety butts against the music, creating odd halts that carry less artistic strangeness than simply bad cue timing. 'the golden ones' is another o highlight, her cheeky promise of 'i can make you wonky' rumbling in your mind over the tireless guitar acrobatics parquet courts build around her. on 'talisa,' they churn their usual tack and it works well, o's agitated vox amping up the pulse. Karen o's nervous energy is a hit and miss point on milano, and whether she ends up propping up a particular tune or scrambling it largely depends on what instrumental arrays parquet courts lend her. rather than annex the lp, he seems happy enough with the players doing their own shtick, and just occasionally splicing in some eurocentric soundscapes to coat the lateral angles of milano in the root of its origin, a spare tribute to the city's bustling rockette socialite lifestyle of the time. the beamish keys and distorted sax on 'napoleon' are luppi's only audible contributions to the song, and the album as a whole. but as far as cribbing from cornerstone imprints goes, there are much worse pivots the band could have taken. it's hard to ignore just how much hat-tipping to lou reed's doped-up mutant rock is on display here. elsewhere on the dizzily hankering 'mount napoleon,' the band swing around, pleading for a little ammonia and a bit of cocaine. 'soul and cigarette' starts off with precious twinkling that borders on twee, but quickly gives way to lazy and intent strumming, and deepset vocals that smack of early bostonian pioneers like modern lovers and the real kids. electropunkette karen o and rock's most affable slackers parquet courts round off lupi's line-up, turning milano into a seething show of somnambulist rock.Įarly primitivist rock n roll that swept over the east coast in the late 70's hangs over milano's bare spread like a twitchy nicotine phantom. for his second take, luppi's recruited some new old new yorkers to dip their toes into italy's sophisticated swing.
#Daniele luppi milano songs series#
After the well-received if tepid nod he'd given to rome's nuovo romantico era on 2011's rome, experimental producer daniele luppi continues his sporadic series some six years later with milano, this time transporting to the city's age of golden excess, a brief moment in the early 80's when both economy, foreign policy and personal freedom reached vertigo-like peaks, creating a (understandably brief) sensation of infinite plausibility.
0 kommentar(er)
