Winter Severity Index is a project by Simona Ferrucci ( voice, guitar, bass guitar, drum programming, synths ). Simona collaborates with Alessandra Romeo on synths and keyboards since 2013.
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JE T’AIME is a parisian post-punk cold wave hybrid, reminiscent of the great Mancunian Factory era and suffused with hints of the Smiths.
With a booklet containing illustrations of paintings, photographs and poems, Broken Gargoyles (2022) is more than a music release. Diamanda Galás has included in the booklet four illustrations of her own paintings (there were sixteen in her installation), pre-WW1 German poetry, both in the original language and the English translation, and eleven images of wounded First World War soldiers with damaged faces, taken from a 1924 illustrated book compiled and published by the German activist and pacifist Ernst Friedrich. The reason why Galás merges these textual, visual and audio elements is that they had been used separately for years – in isolation from each other. So, with Broken Gargoyles (2022) she re-connects them. This allows her not only to re-establish the links that existed between them, but also to create new links between the historical material and some contemporary elements (her photographic portraits, taken by Robert Knoke and Austin Young, and her music). In the 2020 installation, Galás had also included film. But the linking of all these artefacts is more of a protest against the forces that un-linked, or separated, them, and the forces that kept them apart throughout the years. In this sense, Galás engages with the separation of the arts, or the tendency to place strict barriers between different art forms. This is a widespread phenomenon in our time. We have, for example, music magazines, art magazines, poetry magazine, and so on, in which music, art, poetry, or any other art form, is discussed separately, in isolation from the other arts. Separating the arts, and cutting off the links that exist between them, can be problematic. The arts are different forms of expression, so if we work using a single art form, we cannot provide the whole picture of a given subject. In other words, we do not tell the whole story to our audiences. Véritable OPNI (objet phonographique non identifié), le split 7” de SPAGGUETTA ORGHASMMOND et LE PRINCE HARRY est un hommage surréaliste (et transfrontalier linguistique) aux pionniers du 1, 2, 3, 4 belge, THE KIDS. Sauf l’esprit, pas de punk rock sur ce disque mais pour LE PRINCE HARRY, une reprise de “Money is all need”, qui puise son inspiration dans les racines profondes de la musique traditionnelle belge: la new beat. Face SPAGGUETTA ORGHASMMOND, on est plutôt sur trois rescapés d’un orchestre de mariachi qui au sortir du Fuse auraient troqué leurs guitares Place du Jeu de Balle contre un synthé Casio, des bongos électroniques et un crooner italoboxeur, ils ont choisi “This Is Rock And Roll”. Pour le papier cadeau, qui d’autre que le plus belge des illustrateurs, ELZO DURT, pour signer une pochette pop et liquide à l’image de l’improbable contenu du disque. |




