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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).
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 Paradise, 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.
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 by Fasolo.
Concentric (2011)
documents a live studio recording.
The Midnight Room (2019)
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