Mashrooms
The Ginko

THE REVIEW

Perhaps it's because Sicily is triangular and the sound resonates in a transversal manner, or because Mount Etna affects the bass output, but the island is filled with more than just Consoli to console and bald Biondi to pity, nor just Franco Sgalambro.

The sonic attitude towards skewed, distorted, and sharp sounds is a tradition like cannoli and cassata. We don't intend to conduct an analysis of post-rock, indie, etc., projects that have developed under the Sicilian sun in recent years; one would suffice: Uzeda, and so, goodbye.

Montalbano are you? Then screw you, along with your granita and your arancina, here we have other imperatives.

The four expert/talented Siracusan musicians (joined, in the meantime, by the violinist Fiderio, an indie sub-tropical bow ace) bloomed from the Siracusan Pythagorean table in 2000, bringing along Mogwai, Explosions In The Sky, Godspeed You! Black Emperor, and other greats.
After their first album titled "Welcome in the Spacketown" (2004, Arsonica records), the lads take on a second, intense sonic equation that confirms the premises and expectations.
Instrumental rides, less noise and more post-rock maturity, harmonic deconstructions, and violins intricately woven to perfection, bring "The Ginko" to a state of the art. Mixed by John Congleton (Paper Chase) and produced by the Cagliari label Zahr Records, the album offers the listener a sound texture that's better than almond paste.

Let's avoid the track-by-track solipsistic carousel of clichés and personal opinions and savor the fruit, forgetting the label.