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Rating: Having coffee with a Zombie, chatting amiably with Frankenstein about the latest Sanremo, or being reduced to an obedient 8-bit ghoul while spinning in space. This is Necronomicon III by Lourdes Rebels, their third album, with an evocative/pharaonic name, and a Progressive Canterbury cover, which seems unrelated, but for this very reason, it is exactly what we expected.
Lourdes Rebels are a duo (Bonora/Villani) from Parma, Italy, active since 2010. After two albums in 2015 and 2017, their third venture stands out in the clear sky, outlining an ideal altered and disturbed trilogy.
The album is vaguely horror, filled with nebulous enigmas, lined with unsettling and formally impeccable situations, but without renouncing that ironic and casual/professional touch that somehow represents the conceptual red thread of the duo's production.
They are detached from any musical and conceptual classification but are open to any possible contamination.
The endeavor presents itself as a hypothetical midway between Germanic-styled electronic krautrock and the most acidic psychedelia in a domestic/paranoid/Italian context.
The analog synthesizers Prophet 6 and Yamaha Ps-20 shine more than in any previous release, wrapping up plots loaded with bewilderment and sarcastic mockery with oblique concern, like the low-budget and lo-fi recordings of '70s horror films.
The tracks bask in the meanders of library music and noise-electronic research, but incursions into garage rock are not lacking, like the cover of Teddy And His Patches Suzy Creamcheese, which was in turn inspired by Frank Zappa's Son of Suzy Creamcheese.
This episode is worthy of the best alternative dance floor and can ignite an orderly pogo, with an aftertaste of Suicide, with due respect.
Kookaburra is art rock, and in the new wave-goth suggestions, there are Damask Garden and Jacuzzi Soup.
Like the other albums, this one was also partially recorded with a 4-track analog cassette recorder and partially digitally.
Necronomicon III is pleasantly disorienting but consistently focused on every detail, even the hypothetically more peripheral ones. This approach makes the band an eccentric yet composed unicum, trying to make its way in the deadly boredom of certain contemporary cash-in aesthetics, allowing anyone to spot and recognize the originality of the message.
With Lourdes Rebels, you don't get the time to metabolize their unpredictability; you've already been thrown off, and they are musically elsewhere.
They carry forward a project that intelligently doesn't take itself too seriously, self-ironic, managing to be sparkling in a multitude of places and situations simultaneously, asking you to follow and participate in its insane and fascinating madness, which bans the fried, the refried, and the deja vu.
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