OTTONE PESANTE
Paolo Raineri: Trumpet
Francesco Bucci: Trombone
Bebbe Mondini: Drums
One year after they released their first EP, which was the first step, Ottone Pesante (Heavy Brass) release the first album. That confirms that was not a joke, neither a divertissement.
Trumpet, trombone and drums can be together really heavy. Ottone Pesante makes a step beyond the traditional idea of Extreme Metal, based on the sound of Bass and Guitar. They do this after 90 gigs in the last year, playing all around Italy and in Europe.
“Brassphemy set in stone” is the evolution of Ottone Pesante. Music has become heavier, more extreme and more technical but also melodic in the same time. The album is very fast and brutal, really impressive especially for brass players. “Trombstone” is the only exception, a doom track that lets the listener breath.
The album was recorded live, during 4 days between May and June 2016, in the only moment that Ottone Pesante tour stopped.
KOMARA
David Kollar: Guitar
Pat Mastelotto: drums
Paolo Raineri: Trumpet
Boundary-Breaking, Cinematic Industrial Ethno-Rock From King Crimson’s Pat Mastelotto and Renowned Avant-Experimentalists David Kollar and Paolo Raineri.
It fucks with your head and has the ability to fluctuate your levels of sobriety even if your system is clean of drink and mind-altering drugs. But as far as mindfucks go, this is damnably compelling.With album art coming from the bewilderingly ingenious mind of Tool guitarist Adam Jones, Komara is a foray into obscure territories.
Dirty Smelly sounds like sin and seduction. . ., reverb lavished trumpets and twinkling sound effects spreads about the song’s atmosphere like a vile of blood dropped into a glass of crystal clear water. It blots the palette in mesmeric fashion, the red of the blood moving about the water like tree roots venturing through soil for nutrients. Deeper in those waters a venomous, barking bass line dwells and gives the whole a definitively nastier guise.
37 Forms builds typically percussive King Crimson fashioned drum work, itching uncomfortably as it dips in and out of a myriad of time signatures.
THE BLESSED BEAT
David Kollar: Guitar
Paolo Raineri: Trumpet
Simone Cavina: Drums
Band of three young generations artists who collaborated with musicians like Eivind Aarset, Bjorn Charles Dreyer, Berserk, Gergo Borlai, Lenka Dusilova, Tadeusz Sudnik, Pat Mastelotto from King Crimson.
Slovakian guitarist and composer David Kollar has released nine expansive albums, scored 18 films and worked on many multimedia projects. His last recording, 2013’sThe Son, an atmospheric, emotionally-charged effort, received accolades from Guitar Moderne, France’s A Decovrir Absolument and the Czech and Slovak Radio Head awards. He’s also worked with Eivind Aarset, Gergo Borlai, Bjorn Charles Dreyer and Lenka Dusilová.
Trumpeter Paolo Raineri takes his instrument and processes it in real-time to create ethereal, otherworldly sounds. The Italian musician combines Scandinavian nu-jazz influences with psychedelic rock, experimental and free improvisation in his award-winning Junkfood 4tet. In addition, he’s performed with Stefano Battaglia, Berserk!, The Blessed Beat, Baustelle, Calibro 35, Nada, Enrico Gabrielli and Tommaso Colliva.
Due to his versatility, Italian drummer Simone Cavina plays with many different musical projects, ranging from radical improvisation to avant rock, through jazz, funk and songwriting. His musical research is leading him through electroacustic and electronic music, allowing him to enlarge his musical inspiration and his drumming style in brand new territories. He played and collaborated, among others, with Junkfood 4et, Berserk, Yuppie Flu, Iosonouncane, Incident on South Street, Stefano Battaglia, Luisa Cottifogli, Mauro Patricelli.
JUNKFOOD 4ET
Michelangelo Vanni: Guitar
Simone Calderoni: Bass
Paolo Raineri: Trumpet
Simone Cavina: Drums
Everything is done by the moment, in real time.
We are not interested in improvisation to prove to ourselves or to others that we are capable. Our main concern is the process as a form of catharsis, improvisation as a space of both personal and collective research, the chance to lose, find and crash into ourselves. To experience some kind of emotion, and not just with each other.
For this reason, when playing, we like to explore thoughts and feelings that scare us a bit, that attract and repulse us at the same time, and that seem to regard the inner nature of things. For this reason, the music we write is anything but the ideal space and atmosphere for those reflections.
The machines mediate everything, we found ourselves to depend on them while playing just like we do in our everyday lives. Even if they never felt this human to us and appear to give more freedom than they take from us. And you could find yourself empathizing more than you ever did, or more than you feared to.
But it’s all fine, as long as they allow us to abstract ourselves from reality.
