PASSPORT TO PARADISE, by LA DOLCE VISA

PASSPORT TO PARADISE

by LA DOLCE VISA

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	1.	ONE 12:56
	2.	EXPRESSOFTKA 03:40
	3.	RAGAZZE SICILIANE 02:23
	4.	MONTAIN CUT 01:25
	5.	CANNOLI 05:12
	6.	G-MAN 02:28
	7.	MYSTERY VOICE 02:13

about

Pietro La Rocca: el. guitar, walkie talkie and other toys

Ken Hyder: voice, ehru, shamanic percussion and bells

Theo Scipio: electric bass (* g-man and mystery voice)

www.ladolcevisa.com
ladolcevisa@gmail.com

credits

released December 13, 2015

La Dolce Visa hail from Italy, and though their band name can be read as a bitter comment on the desparate refugees washed ashore everyday on the country’s shore, the duo (on some tracks trio) do not offer political hardcore punk, as might be expected, but a rather unusual blend of free-form rock and quasi-shamanistic chanting.

While the use of electric guitar and percussion ensures the whole shebang to remain tied to the rock idiom, the obsessed voices, walkie-talkie noises, erhu (a Chinese string instrument) and shamanic bells open the pieces up to a somewhat alien presence. Conflicting emotions seem to simmer within these open-ended pieces, a desire for meditative calm being lacerated by a tension that cannot be spelled out in words. The reason for this uneasiness, however, is for every listener to find out for themselves.

File under: avant rock

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THE NEW NOISE

Progetto con base ideale in Sicilia, questo dei La Dolce Visa messo su da Piero La Rocca degli Oper’Azione Nafta (e svariate collaborazioni) alle chitarre; l’altro membro è il batterista scozzese Ken Hyder (Sainkho Namtchylak e Tim Hodgkinson), collabora il bassista americano Theo Scipio (Zap Mama, Philip Glass). Improvvisazione sembra essere la (più che scivolosa) parola d’ordine: la differenza la fanno chiaramente i rispettivi background, che garantiscono risultati interessanti, insomma qui si fa sul serio e lo si fa bene, e senza farsi ingabbiare da formati e canoni. Vi spieghiamo il perché venendo alle composizioni, che sono a tema libero, ma un sottile filo conduttore può essere la voglia di “molestare” gli strumenti con arguzia, nel tentativo di sondare proprio i limiti degli stessi. Il tutto è accompagnato dalla voce sofferta (quasi dei latrati) di Ken Hyder, che di fatto è simbolo di intima sofferenza, pensate a una sorta di bluesman dalle sembianze aliene (l’andamento bislacco di “Ragazzesiciliane”), mentre “One” è complesso e lungo lamento, sempre virato blues, tra rigurgiti lontanamente “concreti” e noise e le ritmiche diluite fino all’inverosimile (il finale poi sembra quasi uno strambo e dimesso gospel). “G-man” ha forma di talkin’ blues (ancora) piuttosto regolare, mentre “Mistery Voice” ha un afflato primitivista: qui si fa notare ancora la voce di Hyder, che usa un registro affine al canto khoomei della regione di Tuva, in Siberia. Lavoro irregolare per definizione, e non potrebbe essere altrimenti. Vi avevo parlato di improvvisazione, quindi dovete essere particolarmente ricettivi e avere il coraggio di buttarvi in un magma dal quale si esce inevitabilmente cambiati. Teneteli d’occhio.

www.thenewnoise.it/la-dolce-visa-passport-paradise/

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