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Nodo Gordiano
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Michael Baryshnikov
Dec 24, 2021, 8:01:02 AM12/24/21
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Hello All!
Залит Nodo_Gordiano/(2020)_Sonnar
Памяти Кинг Кримсон посвящается.
Итальянский Гордиев узел начал своё существование ещё 25 лет назад, как
ковер-группа КС. Они участвовали в записи всех сборников-трибьютов и даже
поучаствовали в записи первого сольного альбома Джона Веттона.
За 25 лет ребята хорошо прониклись духом КЦ, и совершенно не удивительно, что
их собственная музыка до боли напоминает КС от начала времен вплоть до
Дисциплины.
Мощно! Круто! Густо замешано!
ВЕСЬМА ВЕСЬМА ВЕСЬМА РЕКОМЕНДУЮ!
===
(c) Nodo Gordiano biography, PA
Founded in Rome, Italy in 1994
NODO GORDIANO project begins its run in 1994 after the meeting between Andrea
De Luca (bass, vocals), Alessandro Papotto (wind instruments, vocals) and Tony
Zito (drums). The first line up was completed with the arrivals of Roberto
Proietto (guitars) and Fabio D'Andrea (keyboards). The band, during 1995 and
1996, plays basically GENESIS and KING CRIMSON covers and Radio Rock, with
other private networks, promote live gigs in important live exhibitions in
Rome.
In 1997, after the keyboardist departure, the quartet creates and records for
promotional purposes the music that would be in the first omonimous studio
album, produced by Lizard Label the following year, and gigs with John Wetton
playing KING CRIMSON covers. In 1998 the band collaborates with BANCO DEL MUTUO
SOCCORSO (playing also live with Francesco Di Giacomo and Rodolfo Maltese),
appears on national networks, plays live extensively and exhibits in several
Alternative Rock Festivals.
In 1999, a few months after official first out, Alessandro Papotto and Tony
Zito leave the project to engage themselves in other musical projects. Andrea
De Luca, after Roberto Proietto defection, continues in NODO GORDIANO musicians
search and collects new ideas for the next band incarnation.
In 2002 the new thing appears. Andrea meets the drummer Carlo Fattorini (Der
Blaue Reiter, Magog) and Fabrizio Santoro (guitars, also with Magog e Oak). Now
the band plays as a trio, open, like in NODO GORDIANO best tradition, towards
any form of musical adventure. Among other collaborations, during the first 10
years, the names of Antonello De Zelis, Roberto Gavazzi, Giordano Rossini, Max
G.B. Tommasi and Alberto D'Annibale have to be mentioned for their
contributions. A direct recording of KING CRIMSON's Lament (with Andrea Amici,
Leviathan, playing keyboards) has been chosen in 2003 in order to appear in the
3CD box The Letters, devoted to KING CRIMSON fans. The boys collect audio
materials for the studio album, Flektogon, but before arriving at the final cut
NODO GORDIANO unexpectedly runs into Alea.
===
Studio Album, released in 2020
Songs / Tracks Listing
1. Only Fool! Only Poet! (9:06)
2. Limbic Rendez-Vous (6:57)
3. Charun (3:51)
4. After Dusk (20:47) :
- a) Promenade
- b) Debut
- c) Hey, Mr. Professor!
- d) Sgalambro's Ghost
- e) Pometine
- f) Pale Gallery
- g) Transhipment
- h) Nightdrive
5. Vanth (5:30)
6. Sonnar (8:23)
Total Time 54:34
Line-up / Musicians
- Filippo Brilli / winds, saxophone
- Andrea De Luca / guitar, bass, keyboards (1,2,4,6)
- Davide Guidoni / percussion, keyboards (3,5)
- Natalia Suvorina / vocals
===
(c) Review by tszirmay, PA
The Gordian Knot remains defiantly untied and defiant as ever! My Italian pals
Nodo Gordiano are back after a long six-year lull, Andrea de Luca still running
the show with some new changes, as drummer Carlo Fattorini and guitarist
Fabrizio Santoro are both gone. The mid-period King Crimson mood and style is
still alive and well, thank you. Andrea handles his usual booming bass as well
as guitar and keyboard duties, winds player Filippo Brilli is 'brilli-ant" as
he does a fabulous Mel Collins-like performance throughout. But here comes the
kicker, the drum stool is handled now by one of the finest drum/percussion
masters on the Italian peninsula and beyond: Davide Guidoni. For those of you
unfamiliar with this powerful Roman beat guru, here is a short list of his prog
achievements: Pensiero Nomade, Taproban, Gallant Farm, Alberto Rigoni, The Far
Side, Claudio Milano, Doracor, Nuova Era, Ozone Player, as well as his main gig
with Daal and his B-Rain project. Suffice only to state that he is up there,
not far from the Bruford/Peart/Bozzio/Colaiuta realm. The man is a beast as
well as a super nice guy. There is little doubt that this new album will reach
new levels of 'sons and fascinations' (to paraphrase Simple Minds' French
words). While Nodo started out in 1994 as a KC and Genesis cover band, the 2009
"Flektogon" album really blew me away, and I have been a fan ever since. The
2014 release of "Nous" was an even higher step in the evolution of the band.
This new album has all the hallmarks of continuing the tradition of complex,
brooding, contrasting shimmers of familiar and often unfamiliar sounds.
The opening track serves to set the sonic table, featuring layered keyboard
carpets propelled by that deft percussive touch, slashes of guitar
reverberations, full of melodic dissonance and ominous feel. The female vocals
of Natalia Suvorina take some getting used to, not really my style of tone
(more a voice than vocals, if you see/hear what I mean) but they are there for
a reason. A blistering 7-minute ride, "Limbic Rendez-vous" shifts into another
gear altogether, revving up the engine, a platform for some ravaging sax work
from Brilli, bruising bass and a drum barrage for the ages. Its raw, yet
melodic, jumpy but structured. Hard jazz-prog with superlative control and
dynamics. Midway through, the sequencer synths lead the brief witch like
vocals, as the fuzzed bass carves some nasty lead grooves, more like prime
Hopper or Babbington. Delirium ensues, sounding almost like classic Gong, with
the Malherbe-like sax sprouting chaotic fantasy. The short "Charun" serves as a
set-up for the massive 20-minute epic "After Dusk", a foreboding clock of
dread, loaded with a flurry of metallic percussion that would make BB proud, as
if some creeping monster was surging out from the Amazon jungle. The added
mellotron bursts only add to the suspense. Here is the core piece as introduced
earlier, a gigantic epic of colossal width and length, a crosscurrent of
everything you can think of as progressive, from one end of the spectrum to the
other extreme, all set up as individual vignettes. When the rash guitars kick
in, shouldered by the clinical tik-tok of the drums, the energy level raises
itself to insistent levels. This materializes into quite the hurricane, not
unlike KC, s classic and my all-time favourite "Sailor's Tale", with various
mood changes, alternate dimensions and surprising dynamics. When Natalia
whispers, it comes off as a clever foil, especially when Andrea shows up on his
slashing electric guitar, doing a most admirable job, all the while keeping the
bossy bass low end furiously in place. The man with the strings. Two more
pieces finish off the recording, "Vanth" choosing to explore a more modern
groove, whistling synth front and centre, coddled by the menacing mechanical
drum patterns (not a drum machine but a human machine) and large swaths of
mellotron. An incessant and obsessive slice of genius, with an overt Brufordian
guidance, this is quite the show, perhaps even more Crimson than the King
itself. A grandiose finale is in order, the tittle track takes no prisoners,
germinating from a gentle e-piano lilt that allies itself with a sonorous
guitar phrasing, sounding like a jam version cousin of Zep's "No Quarter", as
it evolves into a more concise arrangement, Davide operating like an octopus
gone wild, all culminating into a breezy outro, where the e- piano waves a
lovely and poignant arriverderci.
A tremendous piece of work that should find favour with the Frippian hordes, or
anyone else who enjoys great drumming, fabulous bass, powerful guitar and
exhilarating sax work. With this effort, the band has risen to even higher
levels of style and maturity, offering a more psychological work, laden with
detail as they keep getting better and better at their craft.
===
Enjoy!
WBR, Michael Baryshnikov.
ЗЫ. Кстати, вот недавно вышел их новый альбом, но в доступности пока нет.
ЗЫЗЫ. Болею я :(
Залит Nodo_Gordiano/(2020)_Sonnar
Памяти Кинг Кримсон посвящается.
Итальянский Гордиев узел начал своё существование ещё 25 лет назад, как
ковер-группа КС. Они участвовали в записи всех сборников-трибьютов и даже
поучаствовали в записи первого сольного альбома Джона Веттона.
За 25 лет ребята хорошо прониклись духом КЦ, и совершенно не удивительно, что
их собственная музыка до боли напоминает КС от начала времен вплоть до
Дисциплины.
Мощно! Круто! Густо замешано!
ВЕСЬМА ВЕСЬМА ВЕСЬМА РЕКОМЕНДУЮ!
===
(c) Nodo Gordiano biography, PA
Founded in Rome, Italy in 1994
NODO GORDIANO project begins its run in 1994 after the meeting between Andrea
De Luca (bass, vocals), Alessandro Papotto (wind instruments, vocals) and Tony
Zito (drums). The first line up was completed with the arrivals of Roberto
Proietto (guitars) and Fabio D'Andrea (keyboards). The band, during 1995 and
1996, plays basically GENESIS and KING CRIMSON covers and Radio Rock, with
other private networks, promote live gigs in important live exhibitions in
Rome.
In 1997, after the keyboardist departure, the quartet creates and records for
promotional purposes the music that would be in the first omonimous studio
album, produced by Lizard Label the following year, and gigs with John Wetton
playing KING CRIMSON covers. In 1998 the band collaborates with BANCO DEL MUTUO
SOCCORSO (playing also live with Francesco Di Giacomo and Rodolfo Maltese),
appears on national networks, plays live extensively and exhibits in several
Alternative Rock Festivals.
In 1999, a few months after official first out, Alessandro Papotto and Tony
Zito leave the project to engage themselves in other musical projects. Andrea
De Luca, after Roberto Proietto defection, continues in NODO GORDIANO musicians
search and collects new ideas for the next band incarnation.
In 2002 the new thing appears. Andrea meets the drummer Carlo Fattorini (Der
Blaue Reiter, Magog) and Fabrizio Santoro (guitars, also with Magog e Oak). Now
the band plays as a trio, open, like in NODO GORDIANO best tradition, towards
any form of musical adventure. Among other collaborations, during the first 10
years, the names of Antonello De Zelis, Roberto Gavazzi, Giordano Rossini, Max
G.B. Tommasi and Alberto D'Annibale have to be mentioned for their
contributions. A direct recording of KING CRIMSON's Lament (with Andrea Amici,
Leviathan, playing keyboards) has been chosen in 2003 in order to appear in the
3CD box The Letters, devoted to KING CRIMSON fans. The boys collect audio
materials for the studio album, Flektogon, but before arriving at the final cut
NODO GORDIANO unexpectedly runs into Alea.
===
Studio Album, released in 2020
Songs / Tracks Listing
1. Only Fool! Only Poet! (9:06)
2. Limbic Rendez-Vous (6:57)
3. Charun (3:51)
4. After Dusk (20:47) :
- a) Promenade
- b) Debut
- c) Hey, Mr. Professor!
- d) Sgalambro's Ghost
- e) Pometine
- f) Pale Gallery
- g) Transhipment
- h) Nightdrive
5. Vanth (5:30)
6. Sonnar (8:23)
Total Time 54:34
Line-up / Musicians
- Filippo Brilli / winds, saxophone
- Andrea De Luca / guitar, bass, keyboards (1,2,4,6)
- Davide Guidoni / percussion, keyboards (3,5)
- Natalia Suvorina / vocals
===
(c) Review by tszirmay, PA
The Gordian Knot remains defiantly untied and defiant as ever! My Italian pals
Nodo Gordiano are back after a long six-year lull, Andrea de Luca still running
the show with some new changes, as drummer Carlo Fattorini and guitarist
Fabrizio Santoro are both gone. The mid-period King Crimson mood and style is
still alive and well, thank you. Andrea handles his usual booming bass as well
as guitar and keyboard duties, winds player Filippo Brilli is 'brilli-ant" as
he does a fabulous Mel Collins-like performance throughout. But here comes the
kicker, the drum stool is handled now by one of the finest drum/percussion
masters on the Italian peninsula and beyond: Davide Guidoni. For those of you
unfamiliar with this powerful Roman beat guru, here is a short list of his prog
achievements: Pensiero Nomade, Taproban, Gallant Farm, Alberto Rigoni, The Far
Side, Claudio Milano, Doracor, Nuova Era, Ozone Player, as well as his main gig
with Daal and his B-Rain project. Suffice only to state that he is up there,
not far from the Bruford/Peart/Bozzio/Colaiuta realm. The man is a beast as
well as a super nice guy. There is little doubt that this new album will reach
new levels of 'sons and fascinations' (to paraphrase Simple Minds' French
words). While Nodo started out in 1994 as a KC and Genesis cover band, the 2009
"Flektogon" album really blew me away, and I have been a fan ever since. The
2014 release of "Nous" was an even higher step in the evolution of the band.
This new album has all the hallmarks of continuing the tradition of complex,
brooding, contrasting shimmers of familiar and often unfamiliar sounds.
The opening track serves to set the sonic table, featuring layered keyboard
carpets propelled by that deft percussive touch, slashes of guitar
reverberations, full of melodic dissonance and ominous feel. The female vocals
of Natalia Suvorina take some getting used to, not really my style of tone
(more a voice than vocals, if you see/hear what I mean) but they are there for
a reason. A blistering 7-minute ride, "Limbic Rendez-vous" shifts into another
gear altogether, revving up the engine, a platform for some ravaging sax work
from Brilli, bruising bass and a drum barrage for the ages. Its raw, yet
melodic, jumpy but structured. Hard jazz-prog with superlative control and
dynamics. Midway through, the sequencer synths lead the brief witch like
vocals, as the fuzzed bass carves some nasty lead grooves, more like prime
Hopper or Babbington. Delirium ensues, sounding almost like classic Gong, with
the Malherbe-like sax sprouting chaotic fantasy. The short "Charun" serves as a
set-up for the massive 20-minute epic "After Dusk", a foreboding clock of
dread, loaded with a flurry of metallic percussion that would make BB proud, as
if some creeping monster was surging out from the Amazon jungle. The added
mellotron bursts only add to the suspense. Here is the core piece as introduced
earlier, a gigantic epic of colossal width and length, a crosscurrent of
everything you can think of as progressive, from one end of the spectrum to the
other extreme, all set up as individual vignettes. When the rash guitars kick
in, shouldered by the clinical tik-tok of the drums, the energy level raises
itself to insistent levels. This materializes into quite the hurricane, not
unlike KC, s classic and my all-time favourite "Sailor's Tale", with various
mood changes, alternate dimensions and surprising dynamics. When Natalia
whispers, it comes off as a clever foil, especially when Andrea shows up on his
slashing electric guitar, doing a most admirable job, all the while keeping the
bossy bass low end furiously in place. The man with the strings. Two more
pieces finish off the recording, "Vanth" choosing to explore a more modern
groove, whistling synth front and centre, coddled by the menacing mechanical
drum patterns (not a drum machine but a human machine) and large swaths of
mellotron. An incessant and obsessive slice of genius, with an overt Brufordian
guidance, this is quite the show, perhaps even more Crimson than the King
itself. A grandiose finale is in order, the tittle track takes no prisoners,
germinating from a gentle e-piano lilt that allies itself with a sonorous
guitar phrasing, sounding like a jam version cousin of Zep's "No Quarter", as
it evolves into a more concise arrangement, Davide operating like an octopus
gone wild, all culminating into a breezy outro, where the e- piano waves a
lovely and poignant arriverderci.
A tremendous piece of work that should find favour with the Frippian hordes, or
anyone else who enjoys great drumming, fabulous bass, powerful guitar and
exhilarating sax work. With this effort, the band has risen to even higher
levels of style and maturity, offering a more psychological work, laden with
detail as they keep getting better and better at their craft.
===
Enjoy!
WBR, Michael Baryshnikov.
ЗЫ. Кстати, вот недавно вышел их новый альбом, но в доступности пока нет.
ЗЫЗЫ. Болею я :(
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