Is titled Next Big Nothing (The Storm Discs), the new album by the most anarchic duo on the Italian alternative scene composed of Adriano Viterbini And Cesare Petulicchio i.e. i Bud Spencer Blues Explosion. With its ten tracks, five instrumental, five with lyrics, Next Big Nothing it is a condensation of space debris that falls on planet Earth in the form of brightly colored confetti.
Let’s start with the history of Next Big Nothing and how it came about. Furthermore, that Next already conveys a sense of the future.
The title was born halfway through production and was one of the many titles pinned. When we chose him, the production came into focus. As in the past, and as our name is, it is a play on words between English and Italian but it is also starting from a blank sheet of paper and therefore we treat the project as if it were our first album therefore without having to follow already established tracks. In 17 years we have made four records and it’s easy to repeat ourselves, but this time we moved in the opposite direction. So there remains something historical that can be heard in the movements of the songs and the novelty that is experimentation and research.
In each of your compositions multiple styles blend together: do you believe this is the true essence of the idea of contamination?
What we do doesn’t claim to cross borders or create music with labels. World music has become a container that avoids classification. Our music is spontaneous with a rock matrix because it contains a certain type of energy and is also the pretext to do something that sounds original to our ears. We listened to what our heads were telling us and recorded what we wanted to hear.
Vandals it starts with a 60s/70s riff and continues with a syncopated rhythm with the progressive violin and ends almost metal. Speaking of contamination.
For us it is interesting to know the points of view of those who listen to us. Vandals it’s the result of an improvisation, we recorded many things on it, including three different drum kits. In the central part it reminds us of some things from Fat Boy Slim and Chemical Brothers-style electronics, which came much more from sampling than from drum machines.
Like a Ray it features keyboards with 80s effects and a dark construction of the piece that opens at the end with a slow funk and a dialogue between guitar and keyboard.
Each of us sees different things in the same song. We understand the listener through these reflections. Music has the power to move memories, to take us back to moments from the past.
Camper it begins with a sustained note that becomes more powerful and then softens with keyboards that mimic raindrops.
The ending is recorded with guitars with a synth called Strega which has an aquatic component, as if there were a diver.
Gerrili it’s an instrumental of about thirty seconds that recalls garage music: how does it represent the end of the journey?
It’s our ramshackle version of what Jerry Lee Lewis would have done if he had been there with us, it’s a fun way to end a record.
Sabroso Tapas Bar It also has notes of the Sixties and a good dose of psychedelia, it’s very American and lysergic with a guitar that looks like a sitar, it reminded me of Buffalo Springfield. There are also notes of Mexican rhythms.
Buffalo wasn’t part of our influences, there we feel more like Latin Plaboys, there’s a bit of a trend. The song has a garage music component and more exotic inserts, which is why it was interesting to add elements in the narrative that could reach anywhere but without being explicit. It offers a feeling of alienation, even at the end there are synths since the place is not there, here we are in the dream, a dream world to which we all owe something thanks to its feverish dimension. Then yes there is a guitar that sounds like a sitar and there are Mexican notes.
Miku it is the most lively and dance track and towards the end it recalls some musical experiments in The White Album by the Beatles, in particular the song Revolution 9. It also seems to me to be the most experimental track.
There we dealt with multiple tracks, technically we went over many pieces and then chopped them up. This album has songs produced as normal songs to which we have added colors and non-standards, there are others that are more the result of an electronic world where we take noises and treat them as if they were sounds. There are also reversed things, like Jimi Hendrix, the Beatles and Pink Floyd did: it was one of the first psychedelic things you did with tape in the sixties. They were two pieces that we combined, the first lasted too short, the second didn’t have an end… together they became Miku.
Can we therefore say that no more space debris but only confetti and maybe streamers?
There is a lot of color, we don’t know if the space debris is colored. As we present it graphically and in the visuals it seems like a visually colored record.
What can you tell me about the tour? Also at the level of arrangements given the characteristics of Next Big Nothing.
The beauty is maintaining the mystery, things work when there is a heavy share of mystery, even for us, during the rehearsals we will understand the progress of the concert. Thanks to the live shows this summer it will be impactful, then we want to surprise and surprise ourselves, the important thing is to create a no stage, remove the difference in level that is created to share energy as if it were a pinball machine. It’s difficult to think that what you do is perceived as you thought of it but we’ll have the answer at the end of the tour. For it will be sensations and feelings.