Ulan Bator
Ego:Echo

Since the beginning (1995), Ulan Bator have launched themselves onto the independent scene, offering a truly original rock, layering their odd-time signatures with elements reminiscent of Faust-style kraut rock (not surprisingly, Amaury Cambuzat and Olivier Manchion were recruited by them), post rock, and noise rock.

Ulan Bator, to be fair, have never missed the mark, not a single album that was a failed experiment, not a single album below average, and two phases must be distinguished:

1) The initial phase (1995-1997) built on the Cambuzat (vocals and guitar) / Manchion (bass) axis, very cynical, decidedly more experimental, and unconcerned with leaving a certain acoustic permeability to ensure a wider range of action. Zero artistic hypocrisy.

2) The more recent phase (2003-2005) is generally more malleable melodically, decidedly less dark than in the past, and sees contributions in the creative phase from guitarist Egle Sommacal (the melody comes directly from his hands) and drummer Matteo Dainese, a virtuoso batterer of rigorously minimal drum kits, but capable of making even the Persian rug underneath sound.

"Ego:Echo" is from 2000.

This means it was born in the "middle phase," the one with the best of the best lineup, that is Cambuzat, Manchion, and Dainese. No offense to Sommacal (whom I appreciate). It is not their best album, because Végétale (here on Deb poorly reviewed and superficially rated because it was not yet "understood" by me) has something more, but it is certainly the album with the best production. Where even a dirty feedback sounds like a sweet caress (and accompanies almost the entire "Santa Lucia" as background) and Dainese's "instinct" almost becomes visible [as in the ballad (?) bass and voice where Cambuzat seriously risks my manliness (to hell with French screamo)].

This is the most underrated band of the last 15 years. On last.fm, listening to another of their more "attractive" albums, "2 Degrees," there are only 48 assholes. In Italy, they always played for a handful of people, except during the tour as the opening band for Marlene Kuntz, where their performances, by reflection, increased the appreciation for Marlene's now tired and unmotivated performances. Meanwhile, Blonde Redhead in America were making money.

Oh, I almost forgot, Ulan Bator kick ass.

PS: clarification for those with two shovels of cement in their heads, it's not a kraut rock album, it's not a post rock album, it's not a noise rock album.