An imaginative concert.
I walk into this softly shaped room, let myself be carried away by the dreamlike atmosphere of the place, and get ready for the apocalypse that awaits me.
World's End Girlfriend begins, and it's a constant lapping of a slashing guitar, an electronic jingling, the pinching beat of a fake, bastardized percussion. Delay, decompositions, noise, volume spikes, sound flows decomposed, cut, severed. I'd known him for a while, and it was like seeing my whole life in these 15 minutes... His performance is a continuum, with no pauses. One piece follows another without interruption, not a single moment of respite. Despite his detached approach, the sounds released by his set are enveloping, full, moving.
As Mono take the stage, I let myself be swept away by the bassist's beauty (delightfully dressed), the sweet, refined features of the guitarist (he looked as graceful as a woman), the guitarist/drummer's likeable expression, and the professionalism the other guy on the strings exuded.
An ongoing weave of a sea of aleatory notes, moments of ponderous calm set against the collision of a cluster of boulders against the walls of sound. A percussive maelstrom accompanies an orgy of volume in which one gets lost with pleasant ease. A sampled violin slips into the air, leaving a splash of classicism in the apparent silence. Compositions for a space war, timbres fit for the apocalypse, glacial counterpoints that cut our moments of calm in two. The throbbing tick of a punctual, precise clock, dreamlike settings, moments of pure pathos.
I find myself closing my eyes as the minutes go by, barely aware of what surrounds me, letting the emotions run through me without resisting the flow of the concert. To get down to more concrete terms, the music unfolds with astonishing completeness, weaving instrumental post-rock embroidery, hints of the shoegaze scene, and electronic manipulations.
Buy their records, love their faces, go to their shows. I'm sure they'll win you over too.
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This article is an English translation of the original Italian text by OndaRock Staff, published on OndaRock.it. It was translated with the help of artificial intelligence, under the editorial responsibility of OndaRock's editor-in-chief, Claudio Fabretti.