In the fragmented age in which we live in there’s something that keep us together, and to which we cannot escape: the noise. Not only the one of the streets or crowded places, soundtrack of our daily life, but also the constant background buzz that conveys news and ideas to make us homologated, all facing the same direction. It’s the least recognizable sound in the media blitz we are subjected to. To try to pick up the signals of a frenetic society with no way out, submeet have entered one of the noisiest existing places: an airport terminal, with the voices and screams of the passengers that merge with the din of the planes that land or take off. It’s in this place of passage and exchange that Terminal was born, the first album out today January 24, 2020 on vinyl and digital on Lady Sometimes Records by the Italian trio formed by Andrea Zanini, Andrea Guardabascio and Jacopo Rossi that had previously released a homonymous EP in 2017.
Since then many things have changed. The sound, first of all: from the shoegaze of the early times submeet have moved on to a hybrid of post-punk and noise with very specific references. In recent years the band has played a lot, both in Italy and abroad, through the word of mouth of fellow musicians and professionals. And so they have opened gigs for Be Forest, Soviet Soviet, and also for Preoccupations who personally chose submeet as supporting act.
In Terminal‘s furious sound there are at least two possible landmarks: the already mentioned Preoccupations, because of the post-punk aspects, and the sonic noise of A Place To Bury Strangers. But submeet’s style goes further: from hieratic clangs that explode in out-of-control outbursts – it happens on the first single Terminal, with a video realized by Zannunzio – to the less sharp sounds of the second single Nimby or the frantic flashes of BGY, without giving up the song-form, the Mantuan trio assembles tracks often characterized by sudden rhythmic changes (Makkathronic and RA815 REV. 0), loose bits of noise-punk (Boelcke), shoegaze legacies (White Arms), night rides in abandoned urban spaces (Capsule Hotel) and expanded Cronenberg-style nightmares of flesh and metal (Audiodrome).
The collaboration with Davide Chiari from Tin Woodman (Centuries Reverb) in the production process has been important: “We had never made completely analog recordings before, so it was a wide-ranging experiment. Davide empathized with us and advised us starting from the choice of the location of the recordings – a concrete chamber located in an underground car park – until the insertion of unusual tricks in the mix that characterized the sound”. Then, Terminal was mastered by Stefano Vanoni (Saturn Masters). Let’s prepare to take off
