Two weeks ago we introduced De Marion which is the project of Italian guitarist Dario Serra, also known for his work with Suzanne’Silver. It features Danilo Garro from the band Mashrooms. He recorded a lot of solo stuff since his youth but released only two albums: De Marion (2005) and My Kingdom For A Couch (2008).
The new album Down The Road Of Mainstream I Saw You, Canzone is out now via Noja Recordings. The album features Mauro Felice, Carlo Barbagallo, Roberto Cappellani and Swingy Pirlo. Listen below and check the track by track after the full streaming.
“Some years ago, i think it was 2012, i bought on ebay from a german guy an old fostex 4 track cassette recorder and started to write some stuff and record it on tape. The songs were good but the sound was awful.”
SUN DISTORTED YOU. In that analog shitty recording there was a first version of “Sun distorted you”, a song about life, simply growin’up and die, without any fault. I continously changed that song over the years, its parts, instruments, vocals, everything. I really don’t remember how it arrived to its final version. In that tape i had many other songs that i took out from the new album but i still like to play them live. In that period i started to play with Swingy Pirlo on drum (he plays drums with Mashrooms, a post rock band of my churchy town).
GIBBOUS. Me and Swingy Pirlo on October 2012 had a live recording session at Arsonica, the studio where i use to reharse, with the help of Pio (a sort of Jack Endino of my sunny town), a fostex 8 track recorder and a couple of cheap mics. From that session i kept “Gibbous”. After some years i added the bass and synth lines in the final part that gave that huge Wagner fx. The song is about people who don’t wanna have children, my parents are sad about that but fortunately my brother did a double shot. That song was mixed by Carlo Barbagallo who added that cold reverb like we played in a cave, i think he always hated dry spaces.
SBURRAMENTO FULMINEO IN LA MINORE. Before Swingy Pirlo moved to Berlin (he fell in love with an architect) we recorded in late 2014 with a portable digital recorder, always at Arsonica, an instrumental riff that sounded between psychedelic sixties California and an orchestral soundtrack in A minor of an old movie. After four years i sampled some parts of the recording to make an hip hop version of it, played with my Roland SP-606 sampler pads. It was a total failure so i panned the original version on the right, the new version on the left and added a rubbery bass line at home.
GOD PUT A BLIND FLANGE IN HIS PATH. In summer 2015 me and my main band Suzanne’Silver went to the countryside cabin where we used to stone ourselves, arrange and record our music. From that session none of my ideas were appreciate so i saved them for future. One of that songs is “God put a blind flange in his path” where Mauro and Barbagallo from Suzanne’Silver played drum and a bad emo treble guitar, respectively. Some years after i put a bass line, i tried some vocals but it was better without.
DANNY BOY. In that period there was a ballad i wrote thinkin’bout fifties 7 inch records our mothers fell in love with. The mood was intimate and sexy so i wrote two lines of lyrics about self loosing in perversion but, you know, like Small Faces lyrics that don’t mean a fuck. The intro is a mix of my favorite porno lesbian actresses in action. Drum is played by a friend called Cappellani, a neurologist, he has a nice robotic drumming but the drum set sound was so poor. I tried to fix everything with a swirling guitar and a bass line clearly inspired to McCartney in Abbey Road (do you remember the song “I want you”? that bass!). For the voice i used a telephone mic that i built, Mark Linkous is one of my myths. When i finished “Danny Boy” i thought “ok, let’s go make this album”.
FROWN. In September 2015, in the middle of post summer depression, i wrote a boring riff, just two chords. At first it was just acoustic guitar and vocals but it was too much Yo la Tengo oriented, too close to my old stuff so i worked on an old tape with some random noises and a drum sample that i already used for an old song (i’m not sure but i think it’s a distorted and lowered by pitch sample from some David Johansen album). Then i made that 80’s synth bass line, i tried to add a drum but the result was so bad that i left the song without rhythm. It was like a long intro, so when i finished to record the song i had the opening song for the album. In the final part i picked my piano strings with the sustain pedal on to have a sort of dreamy classical harp sound (“organic vs synthetic” war starts)
GANGBANG DISCO WHITE. In summer 2016 i was with my friend Barbagallo, we were drinking a beer somewhere, maybe a live show or something else. We noticed that a skinny girl looked at us, so i imagined a sort of threesome between me, her and my friend but the last thing i wanna see in my life is Barbagallo dick, so nothing happened. The day after i woke up and wrote this song with acoustic guitar and vocals like i think Billy Corgan used to do at home in ninetees. Later, i re-recorded a more Bristol version of it and i found a cool title. I thought i needed a real drummer for the song but i liked that electronic beat in contrast with thoose typical Liverpool “la la la” in the chorus (“organic vs synthetic” war continues…).
MATTHEW. In late 2016 Barbagallo asked me to put some guitar on his new album. An evening at home i was trying to play my guitar with Barbagallo song in my earphone but my guitar was out of tune, i tried to get it in tune but i was not able without a tuner although i have a really good ear, really! Anyway i don’t know why but this thing drove me crazy so i recorded two horrible guitar parts that never gave to my friend. A couple of days later, by chance, i found those guitars in my recorder and, alone, they were so good; i made a new riff with piano and vocals for joke, i put in reverse the beginning of those guitars to have a fade in effect here and there; it was all random and improvised but i liked it, finally i put a spoken distorted and noise suppressed vocal about one of my colleague named “Matthew” that, despite our slave condition at work, he lives his life like a fucking king.
SPOON. In 2018 i played with a band of friends/musicians, i don’t text the band name because it was ridicolous, the idea (not mine) was to become rich and famous but obviously it didn’t happen, we made just three songs and broke up cause we had problem to decide the day we had to reharse, you know, these are really serious bands problems. The final riff of one of these pop songs really obsessed me at the point that when i wrote “Spoon”, after i recorded it, i realize that i put that riff in the song.
GRAINS. In the same period i wrote another nice ballad but it was so similar to “Spoon” so i decided to not use it for the album but i saved its instrumental intro, a test with tape recorder in E major).
WASTED TIME WITH NONCHALANCE. Wasting time is the thing that i always do better. The guitar riff came out by chance while i wasted time on the couch with my acoustic guitar, maybe in thoose days i listened to Young’s “Tonite’s the night” again and again. It’s a sad song, like that people that try to be funny in every hour of every day. G string is intentionally out of tune to give more bother. One day a friend of mine sent me a video message, it was Lucy, his five years old daughter and she said “you must be a star, you must be a super handsome boy with the microphone”. I pierced the song with a butchered version of that message cause, you know, kids words are pure but are also like blades, and thoose five years old child words were a sad shot of mainstream music. This album is for all the people who will never wear thoose pants.