Good Moaning are the Italian Bari-based band which include Davide Fumai, Lorenzo Gentile, Marco Menchise and Edoardo Partipilo. We introduced them with Hello, parasites EP and now they released their first full-length titled The Roost, out as self-production. We already shared the official live video for the track “Suitcase“.
We had a talk with the band about the new work, live shows, their born place, the visual part of their music. Check it after the full streaming of the album.
Let’s Start from your debut album “The Roost”. It comes two years after debut EP. How was the path, inspiration and creative process which lead to the your first full-length?
During the ‘Hello, parasites’ tour we began to develop some musical ideas Edoardo had in the previous years in a more complex and choral way. We started from guidelines made only by acoustic guitar and vocals and we added details, little nuances and subtleties, always trying to focus on the bigger picture. The inspiration, as always, came from our inner world and from a clear headed reflection on it: we tried to express the idea of solitude both as a safe place to protect ourselves from the external world and as a cage for a dreadful isolation.
After the pre-production phase we took everything a step forward and started recording and mixing with Francesco Castrovilli, who made a great effort to translate our foggy and crazy ideas into an actual full-length album.
I think visual part is important and I like very much the artwork. How did you choose it?
We looked for an artwork to effectively represent the main concept behind ‘The Roost’ and we started digging into libraries, old encyclopedias and books. We came across a huge illustrated volume by Ludwig Heinrich Bojanus, entirely about the anatomy of the European turtle, and we all thought the empty shell of a tortoise could be the best way to symbolize something that both protects you and makes you slow and weak.
You shared the video of live session for the track “Suitcase”. Where was it filmed and how was born the collaboration with the director and the idea of the live session?
The ‘Suitcase’ live session is the first sign of our collaboration with the amazing guys from Capillare Factory, who found this beautiful house in Taranto and gave us the opportunity to work with Nico Quaranta, the cameraman behind the long sequence shot moving from one room to another. It all started by accident, because we couldn’t record everything in the same room for acoustic issues, but we think the final result translates beautifully the idea of tormented solitude and seraphic isolation which is the main theme of the album.
You are from Bari (South Italy). I have interest to know more about the relationship between artists and their places and how they affected their art. What is your relationship with your born place (related to music)?
We all live in little towns near Bari and the suspended atmospheres in our album (and some field recordings in it) came directly from the places in which we live. We think that a musician writes and plays in the same way he lives, behaves and interacts with the context around him, and we are no exception. We are where we live and our music reflects the peaceful state of abandon of our towns, which led us to make songs like the ones in ‘The Roost’.
You introduced your debut album at MAT laboratorio urbano, opening the Be Forest Show. What about that night and what do you like most of live part compared to studio recordings?
We met Be Forest three years ago, when we went to Pesaro to play at Zoe Microfestival, and in addition to our esteem for their music we thought about them as lovely human beings from the first moment. The atmosphere at our release party was great, we shared the stage with friends (and of course with great musicians), the sound was incredibly clear on stage and the natural anxiety for the first live of our tour disappeared suddenly. We loved the respectful silence and the attention the audience gifted us with: it was like a ritual and this made us very comfortable.
From our point of view as musicians, the studio recording phase is similar to a pregnancy, and the live one is a childbirth; as listeners we appreciate both as different experiences, but in a live concert the interplay, the effort of actually playing an instrument and the dynamic contrasts are much more evident and hit us in a more physical way.
Considering the current situation in music, what are the biggest complication of an emerging band like you which decide to explore the complexity of the sound? (so far from the easy ways to get access to music industry?
The worst question you can ask to a musician is ‘what’s your actual job?’ The biggest issue we encountered is the unawareness of what’s behind a song, an album or a concert: online streaming platforms made music a disposable experience and don’t allow listeners to understand the effort and the sacrifices one has to make to bring a musical idea to a defined form and to promote it in the chaotic melting pot that Internet is.
What are the best releases you recently appreciated?
Very different stuff, like 공중도둑 (Mid-Air Thief) – 무너지기 (Crumbling), Billie Eilish – When We All Fall Asleep, Where Do We Go, The Caretaker – Everywhere At The End Of Time – Stage 6, The Pier – Dead Reckoning, Worry wort – Fridge Horror.