Jennifer Gentle


(Copyright © 2003 Piero Scaruffi | Terms of use )

I Am You Are (2001), 6.5/10
Funny Creatures Lane (2002), 7/10
Valende (2005), 6/10
The Midnight Room (2007) , 5/10
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Jennifer Gentle, perhaps the premier psychedelic band of Italy, plays acid folk a` la Syd Barrett (in whose lyrics they found their name) enhanced with Marco Fasolo's offbeat vocals. I Am You Are (Sillyboy, 2001) runs the gamut from oneiric trips such as Since I've Seen the Seas to catchy ditties worthy of the Flaming Lips (No Mind In My Mind) to futuristic lieder (Rubber and South, Strupfhose Melodie). The original quartet included drummer Alessio Gastaldello, guitarist Isacco Maretto and bassist Nicola Crivellari.

Funny Creatures Lane (Sillyboy, 2002) revealed their pop talent, on top of their unique post-psychedelic aesthetics. Leveraging baroque arrangements of strings, accordion and sitar, they penned the surreal vignettes My Memories Book, Ultraviolet Lady Opera, Madhouse and the pseudo-ethnic Ectoplasmic Garden Party. Two lengthy and ambitious tracks, Couple In Bed (perhaps their masterpiece) and Wax-Dolls Parade, promoted the project to epic status.

The two albums were collected on Ectoplasmic Garden Party (Lexicon Devil, 2002).

The Wrong Cage (Sillyboy, 2002) documents a live performance with Acid Mothers Temple's Kawabata Makoto.

Valende (SubPop, 2005) is more fragile and less cohesive a collection than the previous ones. While several songs (Universal Daughter, I Do Dream You, Circles of Sorrow, Liquid Coffee) exhibit the same choreographic skills of Funny Creatures Lane, several others languish in a strange limbo of self-imposed aphasia. In some cases this is turned into a plus (the acoustic The Garden), but mostly it becomes mere wallpaper. The duo truly excels at the seven-minute abstract soundpainting of Hessesopoa and the psychotic dynamics of Nothing Makes Sense.

A New Astronomy (A Silent Place, 2005) and Sacramento Sessions (A Silent Place, 2006) were limited-edition works that belonged more to Marco Fasolo's stream of consciousness than to the history of rock music.

Fasolo then reformed the band with keyboardist Liviano Mos and new guitarist Andrea Garbo, but the project was increasingly his solo project.

The sparse and subdued The Midnight Room (Sub Pop, 2007) was basically a solo album by Marco Fasolo, more than ever impersonating Syd Barrett in his most "madcap" state. Fasolo deconstructs the folk-pop song in inventive and slightly neurotic manners (Twin Ghosts, Granny's House) and rarely resorts to the traditional song format, although, when he does, the results are intriguing (Take My Hand, Electric Princess).

Live In The House Of God (A Silent Place, 2008) was a solo-organ album by Fasolo.

Concentric (2010) documents a live studio recording with lengthy improvisations like Neon (16:20), Hunt (8:43) and Halos (11:15).

Jennifer Gentle (La Tempesta, 2019) contains 17 songs.

(Translation by/ Tradotto da Giovanni Angelo Riva)

I Jennifer Gentle, probabilmente la band psichedelica italiana di punta, suonano un acid folk alla maniera di Syd Barrett (dai cui testi hanno ricavato il proprio nome) impreziosito dall’insolita voce di Marco Fasolo. I Am You Are (Sillyboy, 2001) abbraccia tutto lo spettro: dai viaggi onirici, come in Since I've Seen the Seas, a canzoncine orecchiabili degne dei Flaming Lips (No mind in my mind), fino ad arrivare a Lieder futuristici (Rubber and South, Strupfhose Melodie).

 

Funny Creatures Lane (Sillyboy, 2002) rivela il loro talento pop, oltre alla loro unica estetica post-psichedelica. Sfruttando arrangiamenti barocchi di archi, fisarmonica e sitar hanno composto le surreali vignette di My Memories Book, Ultraviolet Lady Opera, Madhouse e la pseudo-etnica Ectoplasmic Garden Party. Due brani lunghi ed ambiziosi Couple In Bed (forse il loro capolavoro) e Wax-Dolls Parade promuovono il progetto ad uno status epico.

 

I due album sono stati raccolti in Ectoplasmic garden party (Lexicon Devil, 2002).

 

The Wrong Cage (Sillyboy, 2002) documenta una performance live con Kawabata Makoto degli Acid Mothers Temple.

 

Valende (SubPop, 2005) è una raccolta di brani più fragile e meno coesa rispetto alle precedenti. Mentre svariate canzoni (Universal Daughter, I Do Dream You, Circles of Sorrow, Liquid Coffee) esibiscono le stesse abilità coreografiche di Funny Creatures Lane, molte altre languono in uno strano limbo di afasia autoimposta. In alcuni casi questo è trasformato in un fattore positivo (l’acustica The Garden), ma perlopiù diventa semplice tappezzeria. Il duo eccelle veramente nella pittura sonora astratta di sette minuti di Hessesopoa, e nelle dinamiche psicotiche di Nothing Make Sense.

 

A New Astronomy (A Silent Place, 2005) e Sacramento Sessions (A Silent Place, 2006) sono lavori in edizione limitata che appartengono più al flusso di coscienza di Marco Fasolo che alla storia della musica rock.

 

Lo sparso e smorzato The Midnight Room (Sub Pop, 2007) è fondamentalmente un album solista di Marco Fasolo, che sempre più impersona Syd Barrett nel suo stato “folle”. Fasolo disseziona la canzone folk-pop in modalità fantasiose e anche un po’ nevrotiche (Twin Ghosts, Granny's House) e raramente ricorre al formato-canzone tradizionale, anche se quando lo fa i risultati sono affascinanti (Take My Hand, Electric Princess).

 

Live In The House Of God (A Silent Place, 2008) è un assolo di organo di Fasolo.

 

Concentric (A Silent Place, 2010) documenta una registrazione live in studio.

(Copyright © 2003 Piero Scaruffi | Legal restrictions - Termini d'uso )
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