Debut EP by Santa Viola
“And just like that, years by years, he learned crows’ language. It is said cra was the last thing he says before dying”.
Punk and experimentalism go hand in hand very often. Just think the Dutch The ex and Rondos, to Arto Lindsay and the big caravan No Wave from New York, to the various post-punk delirious which appropriates of sounds alien to rock ‘n’ roll, like The Pop Group and The Slits, to the 90’s post-hardcore wave, spearheaded by Fugazi, Nation of Ulysses and friends.
Today we talk about the debut EP by Santa Viola. Without a shade of doubt, the band has more stylistic features in common with the old Alternative Rock scene (the one of Ustmamò and company) than with the Wretched or the 5° Braccio, for instance if you are sourly affected from mono-taste syndrome it won’t appeal to your depressive souls like it would do to Sonic Youth lovers.
The hearted and long songs ( than the average, compares to “Tubular Bells” they clearly seems as intermezzo at least) seems stories about his interior inconvenience and they are broken by instrumental parts.
Songs lasts from a minute and a half, such as “Sorella” to seven minutes like “La donna più vecchia del mondo”, which male voice is replaced by a female one. Musical compromises are various, for example “La quiete, la sua ombra” is pretty calm, while “Animale” is a track more aroused and “Rissa al campetto” which ,with his dramatic pathos, is devastating.
I don’t have many biographic informations about the band. They were formed in 2010, they come from Reggio Emilia, they “like the noise but follows the melody”, they played in social space and this is their first album, co-produced by Lostdog Records and Scatti Vorticosi Records, which I’m sure it will raise the joy for “existentialist” punk lovers, like Essere, IlTeatroDelleOmbre or Eco. Of course, it isn’t about real hardcore, there’s more between shades and plots in this well constructed sound wall. Is Post-hardcore Proust punk a correct definition?
Review by Alessio Ecoretti
Translation by Anna Maria De Vincentiis