Campo Amaro
Milan duo Rosso Polare's fourth album, 'Campo Amaro' is a stuttering muddle of dissociated chants, ancestral rhythms and powdery, saturated noise.
Cesare Lopopolo and Anna Vezzosi came up with the idea for the album while they were observing Italy's waterways. Often polluted, these ditches (known as "fossi") are blooming with life, overgrown with bitter and edible herbs. The duo use this as the jumping-off point for a set of songs that reach into the country's distant past, taking long-forgotten traditional songs and local legends and spiking them with acidic synth squelches, fluttered tape loops and zonked electroacoustic processes.
A skewed folksong is turned into a chirping rhythmic loop on the title track, woken up by hollow, clattering metallic percussion before it mutates into a magickal, low-key ritual. And 'piaghe' is stranger still, its downtrodden foley techno thump eventually accompanied by detuned string smacks, cacophonous free jazz rolls and wails and meditative folk chants. It's way out there.
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Milan duo Rosso Polare's fourth album, 'Campo Amaro' is a stuttering muddle of dissociated chants, ancestral rhythms and powdery, saturated noise.
Cesare Lopopolo and Anna Vezzosi came up with the idea for the album while they were observing Italy's waterways. Often polluted, these ditches (known as "fossi") are blooming with life, overgrown with bitter and edible herbs. The duo use this as the jumping-off point for a set of songs that reach into the country's distant past, taking long-forgotten traditional songs and local legends and spiking them with acidic synth squelches, fluttered tape loops and zonked electroacoustic processes.
A skewed folksong is turned into a chirping rhythmic loop on the title track, woken up by hollow, clattering metallic percussion before it mutates into a magickal, low-key ritual. And 'piaghe' is stranger still, its downtrodden foley techno thump eventually accompanied by detuned string smacks, cacophonous free jazz rolls and wails and meditative folk chants. It's way out there.
Milan duo Rosso Polare's fourth album, 'Campo Amaro' is a stuttering muddle of dissociated chants, ancestral rhythms and powdery, saturated noise.
Cesare Lopopolo and Anna Vezzosi came up with the idea for the album while they were observing Italy's waterways. Often polluted, these ditches (known as "fossi") are blooming with life, overgrown with bitter and edible herbs. The duo use this as the jumping-off point for a set of songs that reach into the country's distant past, taking long-forgotten traditional songs and local legends and spiking them with acidic synth squelches, fluttered tape loops and zonked electroacoustic processes.
A skewed folksong is turned into a chirping rhythmic loop on the title track, woken up by hollow, clattering metallic percussion before it mutates into a magickal, low-key ritual. And 'piaghe' is stranger still, its downtrodden foley techno thump eventually accompanied by detuned string smacks, cacophonous free jazz rolls and wails and meditative folk chants. It's way out there.
Milan duo Rosso Polare's fourth album, 'Campo Amaro' is a stuttering muddle of dissociated chants, ancestral rhythms and powdery, saturated noise.
Cesare Lopopolo and Anna Vezzosi came up with the idea for the album while they were observing Italy's waterways. Often polluted, these ditches (known as "fossi") are blooming with life, overgrown with bitter and edible herbs. The duo use this as the jumping-off point for a set of songs that reach into the country's distant past, taking long-forgotten traditional songs and local legends and spiking them with acidic synth squelches, fluttered tape loops and zonked electroacoustic processes.
A skewed folksong is turned into a chirping rhythmic loop on the title track, woken up by hollow, clattering metallic percussion before it mutates into a magickal, low-key ritual. And 'piaghe' is stranger still, its downtrodden foley techno thump eventually accompanied by detuned string smacks, cacophonous free jazz rolls and wails and meditative folk chants. It's way out there.
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Milan duo Rosso Polare's fourth album, 'Campo Amaro' is a stuttering muddle of dissociated chants, ancestral rhythms and powdery, saturated noise.
Cesare Lopopolo and Anna Vezzosi came up with the idea for the album while they were observing Italy's waterways. Often polluted, these ditches (known as "fossi") are blooming with life, overgrown with bitter and edible herbs. The duo use this as the jumping-off point for a set of songs that reach into the country's distant past, taking long-forgotten traditional songs and local legends and spiking them with acidic synth squelches, fluttered tape loops and zonked electroacoustic processes.
A skewed folksong is turned into a chirping rhythmic loop on the title track, woken up by hollow, clattering metallic percussion before it mutates into a magickal, low-key ritual. And 'piaghe' is stranger still, its downtrodden foley techno thump eventually accompanied by detuned string smacks, cacophonous free jazz rolls and wails and meditative folk chants. It's way out there.