Methel & Lord
Pai Nai

THE REVIEW

PHRASE ZERO: A perfect Italian production, with nothing to envy compared to the most original and modern ones that stand out in today's "foreign" alternative music scene.
My ears have been reveling in it, like never before, for a few days.

PRE-PREAMBLE: Writing on debaser for a year allows me to assert with certainty that this Italian (I repeat Italian... I can't believe it...) album will appeal to a good 80% of reviewers.
I'd bet my hand on the following: Hal, josi, kosmogabri, loris, psychopompe, djd, vanamente.

PREAMBLE: Before attempting to describe this kind of twisted producer of absurd sounds and smoky melodies, I need to give you some useful reference points if you want to go hunting for the record (since it won't be an easy hunt...).
Behind the cover is the logo of Point Of View Records (pointofviewrecords.com), and that of CNI, Compagnia Nuove Indye (cnimusic.it).

GRAMMATICAL ANALYSIS OF THE WORK: The album is entirely in English, except for the final surreal and cursed poem (Sumptuous Dissolution) that closes the 53 minutes of music.
Taking a broad perspective, one could say that everything is inside here (but truly everything, believe me...): Jazz, acoustic ballads, rock, folk, circus songs, poetry, electronic beats, and ethnic music... there's practically no precise genre that can categorize everything, encapsulating and schematizing Pai Nai's music.
In fact, the album's content goes beyond the folkrossover of Coral or the sonic moodiness of Gomez, succeeding in blending purely lo-fi sounds with others that seem to come from the hands of Richard File and James Lavelle of Unkle, almost reaching a sort of free jazz saxophony.
As a musical backdrop to the songs, there are often strange noises produced by the drum machines of the Lord alias Patrick Flabiano.
Other times, it's a woman's orgasms, screaming like someone possessed, framing the music, or, as in Heroina Mon Amour(!), it's a DJ from an improbable radio openly telling off listeners who call in live requesting songs from other groups and not those of Methel&Lord (somewhat like what had already been heard in the last album of Queens Of The Stone Age, only here there's interaction between the DJ and the listener).
You find yourself thrown from one sound to another with great ease; Indian melodies joined to computerized rhythms, laughs mixed with a penetrating bass that in turn tries to take possession of exclusively blues passages, taken by the hand by the hoarse voice of Methel, alias Sergio Ferrari.
The top!
Ready to hunt for the album?