GarageVentiNove
Il Male Banale

Yes, I still remember that time I had the chance to see the Garage, that cross between Nick Cave and Giovanni Lindo Ferretti accompanied by the Nirvana, but with the drummer from the Smashing Pumpkins: it was several years ago in Legnago, in the province of Verona. I was impressed then by how it was possible that from a simple power trio (bass-guitar-drums) + voice such a powerful and mantra-like vibration could emerge, capable of hypnotizing an entire venue, and not a small one! Back then they were called Garage 29 and their record, a maxi single, was Amnesia.
Then I was pleasantly surprised to see them reviewed here, a sign of the maturity of this project, even if I don't understand why the review of Amnesia practically didn't receive any comments. Imagine my surprise today seeing a CD of theirs in physical and virtual stores, called with the new way of writing their name, the more evocative GarageVentiNove. I had to read the notes, i.e., verify the voice of Brian K, the guitar of Ermanno Monterisi, and the bass of Claudio Fusato to make sure they were still the same! ;) Now they also have a female singer with a velvety voice, Patty Esse, and a new drummer, a certain Ciccio Nicolamaria, who I read somewhere is not new to the project.
Well, what can I say? Listening to Il Male Banale many things seem to have changed, beyond the voice and drums, the rhythms have slowed and the sound is more modern, less 90s. But one thing doesn't change: their creativity, their intensity, that magical ability to create engaging singer-songwriter music. In fact, the record is a masterpiece and, as with all masterpieces, it only becomes apparent after a few listens. Certainly, their post-punk attitude is not missing, here exemplified by "Mari Gialli," sung by Patty, and the beautiful bonus track "Kali Yuga" with Brian on vocals, the song of a decadence as invasive as necessary, almost karmic.
However, other suggestions and styles are added, like the desolate "Clessidra (Precipizio in)": a Spartan and melancholic start, an alienating break, and a Sonic Youth drift. Or again, the first, surprising "Hannah A.", tormented by a keyboard in pitch and electronic percussion in a completely irregular (and unpredictable) structure, an absurd and Eastern-tinged cross between house, acid rock, and progressive. "Guarda un po' Più in Là" is their most analytical and disturbing episode, where gothic and indie-rock meet, while "Ocean" remains the most melodic and radio-friendly, softened as it is by the female voice, perhaps it's their single.
But what won me over the most is the new vein... how to define it? Metaphysical? Of drifting delusion? "Labirinti Silenti" is a long raga at the inner roots of the soul, for the most part acoustic but alternating with wise and powerful mantra-noise breaths, while "Down the River," with catacomb male vocals and female vocals à la Dead Can Dance lost in echoes and reverberations, is perhaps their peak together mystical and shamanic. How to say... do we use transcendence to overcome the banality of evil?
Sure, maybe Evil is truly banal, as a black and white cover of degraded suburbs and withered plants seems to suggest, a still life like culture. But to sing it that way, in a sonic kaleidoscope that leads from wave to post-rock, passing through neopsichedelia and cross-over... it's truly beautiful!