They formed in Bologna in 2019, just before the pandemic that then paralyzed the music world for two years. Especially their world, given that Korobu roams in an underground environment that is increasingly difficult to find today and in which the band’s three members have always hung around with devotion: Gianlorenzo “Giallo” De Sanctis (vocals, bass, synthesizer) was the leader of Buzz Aldrin and coined the dark and tribal electronics of 2013’s Husband; Alessandro (guitars and synths) and Christian (drums and electronic percussion) played in the post-rock group My Own Parasite and also signed the film’s soundtrack One night by Toni D’Angelo.
“We used to go to the same circles but we had never met in person,” says Giallo, “until one day I get a message from Ale on Facebook and between one chat and the other we decide to join Christian too for some tests hold true”. Since then, the three have never stopped and are now ready to present their first album fade | buildingto be released on Friday April 8th: an interesting sonic journey between indie rock, blues contaminated by electronic inventions and exotic rhythms, reinterpreted in a retro-futuristic key, introduced by the artwork of Ericailcane, one of the most renowned local street artists worldwide level, who also made the racy video of for Korobu streetspreview here.
“The collaboration with Leo (aka Ericailcane, nda) is our flagship,” enthuses Giallo. “He’s an old friend of Ale’s, we really appreciate his work. Using the metaphor of a mouse that manages to rob a precious almond and manages to sabotage a clearly man-made device that emits hypnotic but incomprehensible and frightening noises, he has managed to interpret a passage that speaks of a present made of continuous seductions and false perspectives that distract us from our real dreams ».
This kind of social criticism runs through the eight tracks of fade | building Mixing with a sound inspired by bands like Radiohead, Animal Collective, TV on the Radio, Battles, Soulwax, Liars, Silver Apples to name a few coordinates. “These are our evaluations, which arose unconsciously. We had started out with a series of improvisations only to find that such an instinctive approach to the music we had in mind was getting nowhere. So we decided to change course and start from a matrix – a guitar, bass or drums round – and then develop a personal research path on it and gradually add, stratify. We built and disassembled the songs several times, we worked them out, transformed them, embedded them in other structures and melodies until we arrived at a synthesis that we believe can represent us in this moment. On the one hand we wanted the parts of the record to have a pretty strong punch, on the other hand we were intrigued by the idea of mixing different genres in a way that’s not too definable and pleasing to our ears. The desire was to surprise even ourselves ».
Released by Locomotiv, the label of the historic Bolognese club founded in 2020 by Giovanni Gandolfi, the club’s artistic director, the album is also the fruit of Korobu’s almost fetishistic passion for the most coveted instruments, not just synths, guitars and basses, in his collection , but also percussion collected from Christian and vintage microphones and amplifiers around the world. “At the time of Buzz Aldrin, I had received a condenser microphone from the GDR from the sound engineer who followed us, Gianluca Turrini, for recording, a Gefell Um70,” says Giallo. “One day he got it back, so I started researching and from there began an exploration that gradually led me to discover German, Austrian, American, English companies in the industry with extremely fascinating stories and put together a little Arsenal of microphones. for fade | building We used an AKG D45, a very rare microphone also used by Led Zeppelin, a D19 believed to be the microphone of Ringo Starr’s snare drum, and an RCA DX77, an American ribbon microphone from the 1950s ».
There were also “a Buchla synthesizer and a whole range of somewhat special percussions and instruments that were modified and used differently from their traditional use, for example to hit the surfaces of leather drums and sheet metal, which yielded a lot of color for the recordings: an African seed spreader, a rubberwood guiro, a scetavajasse typical of the Neapolitan folk tradition and more ».
Behind Korobu is the idea of music that is also intended as an experiment that can finally be realized live in the coming months. “The record has been done for some time, we’ve been waiting for the release due to Covid and now we can’t wait to play it around: for a project like ours, the live dimension is essential.” More hidden but no less telling is the Content conveyed by the English lyrics as well as the name of the trio itself. “It was Ale who suggested calling us that after seeing it Be silent by Martin Scorsese, a film set in 17th-century Japan about the persecution of Christians by Buddhists, Christians who were forced to do so korobu, namely to renounce the original faith. The term has subsequently taken on various connotations and is also associated with the concept of falling, of getting lost, and it is in this meaning that we have used it for the band: in this consumerist era where the model of winner applies, and if you fail, you are a loser, an incompetent, we claim the experience of failure as a part of being human also for growing up. We’re all in our 40’s, the age when you have to confront what you have or haven’t built, and in that balance we think that not only achievements are valuable, but falls are also experiences from which to draw can start again”.
As for the lyrics, Giallo emphasizes how fundamental it is that everyone interprets them according to their own experiences and imagination, but at the same time he wants to make it clear that they are “a critique of contemporary society and, above all, a desire for revenge for injustices , also in a world where people are increasingly forced to live in order to work. I remember a speech in which Mujica, President of Uruguay from 2010 to 2015, pointed out that you can’t buy something with money, but with the time taken to earn that money. Let’s not demonize the work, but for some time the line has been crossed, we should talk more about it ».
Between one song and the other there are hints of “information that has now become illegible because it is so shaped and distorted that it is no longer clear what is reality, what is true and what is not,” adds the musician. “In general as a band we stand with the weakest and also on the record we support the need for a redistribution of wealth that bridges the gap between those who have had too much in their lives and those who have nothing.” The ideas are sort of clear, the intention being to escape from a discography bound by the rules of the market, compared to which Korobu’s is an outsider adventure. All that remains now is to get everything on stage and spread the word that Ericailcane’s mouse is to act as the mascot.