Europe is breeding quite the fertile scene in regards to the harder, more dissonant, raw and intense side of emo, the one whose term has become so "misused" that its meaning may have to begrudgingly be accepted as having altered content. This is why one may avoid using the word as it could place a band in an entirely different context for some readers. Perhaps this is why it's being so inherently revitalized in foreign lands, including Italy, which La Quiete is taking by storm.
The band manages to draw from a wealth of global influences for their sound. Quietly drawing from part Envy's subtle twinkle and part Orchid's furious grind overtones and moreso that latter band's rapid tempo changes, La Quiete compose an incredible amount of depth, variance, and emotion on Tenpeun `01-`05, which is also incredibly cohesive for a compilation that seems to draw from what looks to be 8 or 9 different releases. Any discrepancies in recording quality among tracks seem dreadfully vacant, a trait welcomed with open arms.
The variation on Tenepun is what's truly impressive. La Quiete have a willingness to constantly mix it up and it keeps things refreshing. The instrumental piece "Musica per un Giardino Segreto #3" feels friendly despite its dim mood, with a concise, soft drum roll and following it an abbreviated buildup and let-down of guitar. Its counterpart in "#1" is an equally pretty, moving track, its first minute especially seeming to nod in Embrace's direction. In "Fiori Heri per Ivan Illich," the band is manically chanting "Non vi è musica pi ù dolce delle tue grida / ad ogni frase una mossa improvvisa, disorientante ([English: There isn't sweeter music than the one coming from your cry / every sentence as an unexpected move, disorientating." "*" closes out with a beautiful, brief piano ballad with the screams chaotically layered on top, and yet it works. A fluid second half keeps things strong. "La Maestra non sa Che Illich Mi ha Parlato del Programma Occulto" fills 2 minutes up with multiple stop-starts in the rhythm section, and "Istruziori Sul Funzionamento Della Macch na di Arthur" provides a frantic, jangly display of guitar work coated in flange. "Alle Fogelle" even feels like a closer, providing musical rays of hope in between the cold, pained screams and spazzy drum fills.
Completing the package is a visually pleasing, clever layout from Angelo Milano, using closeups of several arts and crafts materials, making the owner wish it really was yarn stitched into their front cover.
Tenpeun `01-`05 is a very complete, accomplished release from both La Quiete and The Perpetual Motion Machine label, though it makes one wonder just how powerful the former's forthcoming full-length will be.
Lettere Che Avevo
Greyskull