Angelo Badalamenti Archives

Review: Guano Padano’s 2

“Gran Bazaar”

With the intercontinental mix of Italian trio Guano Padano, one could take the easy way out, calling it the bastard child of Ennio Morricone, Dick Dale, and Calexico. The truth is something more muddied, something broader yet less mashed up.

Led by guitarist Alessandro Stefana, 2 steeps in the traditions of Italian-western cinema — specifically, the Italian sonic interpretation of Americana — and applies surf rock and 1950s and ’60s rock ’n’ roll to the music of America’s south and southwest. Bits of gypsy, jazz, and oriental styles also dot the landscape, as each song is a journey to a new land.

Morrow vs. Hajduch: Ash Black Bufflo’s Andasol

Scott Morrow is ALARM’s music editor. Patrick Hajduch is a very important lawyer. Each week they debate the merits of a different album.

Ash Black Bufflo: Andasol (Knitting Factory, 5/23/11)

Ash Black Bufflo: “Buho”

[audio:https://alarm-magazine.com/wp-content/uploads/2011/06/Ash_Black_Bufflo_Buho.mp3|titles=Ash Black Bufflo: “Buho”]

Morrow: Ash Black Bufflo (note the missing A) is the recording moniker of Grails keyboardist Jay Clarke, and his debut release, Andasol, is the culmination of five years of solo composition. Like Grails, the music here is extremely eclectic and skillful, but the styles found within Andasol are more segregated from track to track, not stirred in the melting pot like his group endeavor.

Hajduch: The music is mostly understated, minimal, and minor. It’s very cinematic and seems designed to be unobtrusive, with occasional snippets of dialogue to fill the gaps. With the soft nature of the music and the truncated length of the tracks, it’s an album that flies by.

Morrow: The 18 tracks do go quickly, and they’re sort of built like musical vignettes — which makes sense, because Clarke’s other material as Ash Black Bufflo has been used for movie soundtracks, theater productions, and dance recitals. Even though some of the tracks are a medium length, nothing overstays its welcome.

Also, even though certain tracks are minimal or start out as such, many build into much more, with intricacy after intricacy added to the mix. The album’s second track, “Misery is the Pilgrim’s Pasture,” is a perfect example, and it strikes a very Steve Reich vibe as flute, piano, harpsichord, and percussion work on top of the repeated foundation.

Morrow vs. Hajduch: The Mag Seven’s Black Feathers

Scott Morrow is ALARM’s music editor. Patrick Hajduch is a very important lawyer. Each week they debate the merits of a different album.

The Mag Seven: Black Feathers (End Sounds, 11/16/10)

The Mag Seven: “By the Time I Get Out of Phoenix”
[audio:https://alarm-magazine.com/wp-content/uploads/2011/02/The_Mag_Seven_By_the_Time_I_Get_Out_of_Phoenix.mp3|titles=The Mag Seven: “By the Time I Get Out of Phoenix”]

Morrow: Over the course of a dozen years and a half-dozen releases, The Mag Seven has traversed surf rock, Italian western, punk, rockabilly, guitar-centered jazz, and more. Originally configured with True Widow and Slowride guitarist Dan Phillips, the group shifted its sound in the mid-2000s with the addition of guitarist Brandon Landelius, and the decision was fruitful.

Black Feathers is the group’s new seven-track vinyl/digital EP — its fourth album with Landelius and sixth overall. It’s charged with the same surf-rock energy of albums past but scales back the jazz leanings and Angelo Badalamenti-style moodiness of its last release, Cotton Needle Sessions. Though short, it’s a well-balanced release, alternating between the down-tempo swagger of “Jive Turkey,” the reverberated rock of “My War,” and the western dub of “By the Time I Get out of Phoenix.”