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CD Feature/ Evil Madness: "Demoni Paradiso"

img  Tobias

True or false: „Kid A“ was a Ripoff. Bowie should have stayed in Berlin. Pink Floyd should have disbanded after „Wish You were Here“. Klaus Schulze tracks are not too long, pop singles are too short. Vangelis is a master of neoromanticism and not a sad old Greek with a beard waiting for a phone call from Ridley Scott. Tangerine Dream are the new Beethoven, Jimi Hendrix is the new Mozart, Techno is the new bread and circuses. Rock died somewhere around 1979. Music in general died January 1st 1980. Synthesizers should be machines the size of a warehouse and not of pocket calculators. Vinyl rules. Goblins and fairytales are as real as your mother. Your mother smokes pot. Alien visited the earth and the government is trying to cover it all up. Icelanders are some crazy musicfreaks surfing on gaysers. Drugs make us sea the world as it really is. We all need love, there is always hope and Martin Luther King has a dream.

If you can answer at least three of the abovementioned statements with an emphatic „yes“, then „Demoni Paradiso“ should be just the album for you. Wrapped in a frenziedly colourful digipack that will have any self-respecting graphic designer fainting, screaming or going completely mad, the album is the result of just the kind of inquisitive, exploratory jam sessions that turned Edgar Froese into the poster boy of the Berlin school of electronics and Can into the blueprint for open-minded Rock musicians for decades to come. Operating a wild and quite improbable instrumentarium comprising of a „Telefunken M10“, a „President Home Organ“ and a „Yamaha YC-45D Combo Organ“, a „Cheap Japanese Electric Guitar“, „Seymour Duncan Dimebucker Pickups“, „Tape Machines“, Vocoders , perfectly up-to-date gear and effect machines such as the „Electro-Harmonix Big Muff Distortion“, this Quartet has arrived at an album built on the promise of nostalgic bliss.

In its first quarter of an hour, this wet Hippie-dream truly materialises. Flowing from a flowery atmospheric introduction, the band builds the archetypical entrancing Sequencer lines of the 70s, carefully layering them with minimal sprays of harmonics. One piece seagues into the next in these early stages, with track numbers indicating the discreet arrival of fresh musical elements rather than the beginning of a new, autarc piece of music. Not even the Bontempi fantasy „Numeri Fortunati“ disrupts the groove, instead merging seamlessly into the magical hypnosis the formation are building. From what one could gather on the web, Demoni Paradiso seem to be a force second to none on stage and it is never hard to figure out why on the evidence of this album: There is a raw spontaneity moaning and stretching its monstrous limbs behind the veil of supreme pulsation, an untamed beast waiting to be set free.

About half-way, however, the initial impression of this being a mere retro-exercise, already hard to sustain in the opening, crumbles entirely. By this time, experts will of course long have observed that Devil Madness' focus is not actually on the sequencer lines as such, but on using them as an irresistible and powerful foundation for timbral manipulations and the building of melodic tension archs. Even though tracks are clearly inspired by the cosmic branch of Krautrock and despite their deep fascination for the fascinating depth of classics like „Rubycon“ and „Ricochet“, the fourpiece can't help but include their love for recent developments as well. The outcome is a glistening cocktail of electroid, machinal 21st century club beats and the organic undulation of analog Synths, topped off by some stabs at Industrial and contemporary soundscaping.

Most of all, „Demoni Paradiso“ allows for a highly exciting conclusion: That DJing as a form of art derived directly from the immersive experience of the early pioneers' longform pieces gradually transforming from washes of ambient texture into waves of electrifying rhythm. This possibly becomes most apparent on the 17-minute „Straniero nella Mia Casa“, on which an upfront Bass line burns itself indelibly into the subconscious, while its aggressive tone is slowly washed away by layer upon layer of healing harmonies. But it is equally true for the remaining material on this spaced-out, yet immensely physical trip, which has all the right ingredients for people who would answer at least three questions of the first paragraph with a „yes“ - except for the sorry fact that it is, as yet, unavailable on Vinyl.

By Tobias Fischer

Homepage: Evil Madness
Homepage: 12Tonar Records

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