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GIRONDOLINI - Girondolini



Vienna, Austria

Credit - Magdalena Weyrer

Girondolini has unleashed a manic sound with his self-titled album. ‘Girondolini’ is fast, vibrant, deep and pulsing. Its energy seeps into every track, each lyric is brightened by the sheer musicality of Girondolini’s style. It’s R&B, hip-hop, hardcore synth and everything in between. But what grabs you over everything else, what makes you want to dip back into the album again and again, are the rhythms. They start small and explode with colour. They dip and dive between genres. Some hit jazz, some enter funk, others stay in the pop scene throwing R&B flares and hip-hop grenades for emphasis. ‘Girondolini’ is massive, and you don’t want to be left out.

The album kicks off with ‘Breathe Deep feat. Premrock.’ Instantly you get a taste of the Girondolini flare. Horns blare in the back while a worldly percussion smashes out front. The melody is hidden in the sibilance, waiting to be picked up by an unknowing passerby. Here comes the vocal. Breathe in, hush. WHAM! The instrumental explodes, the vocal takes centre stage, surrounded by thick synths and the now massive percussion. Flanked on its left by attitude, and on its right by funk, this vocal has got the whole room covered. The song builds, taking no prisoners. Soon the light is too bright to behold. The breakdown solves that problem, breaking the song into little found pieces, only to reconstruct them for the big finish.

After that blazing start, you can only carry on with the drive of a loon. ‘The Monk feat. Harry-Dean Lewis,’ with its smooth R&B groove, clear stylish lyrics and rounded beat that keeps you glued to the dance floor. ‘Gloomy Monday,’ brings some epic sub-bass into play. Reverberating percussion surrounds a keyboard while faded vocals call out from the abyss. Dark and sultry, the album continues.

‘Friday Afternoon in a multiverse.’ A new instrumental that feels more like a physical object than a song. You pick it up, and it gleams in your hand. Segments open and close, others fall apart as a sound begins to play from beneath. The room shudders, the bass coming from the very walls. The object floats and gold falls from its cracks. A spinning golden disco ball, covered in crystal abyss.

The hip-hop power picks back up in ‘YoYo.’ It's got pace, it’s loud. The smashing cymbals and twisted drones keep the godly melody moving over turbulent bass lines. Vocals shimmer in the dark, calling you deeper into the album. ‘Multiplexer feat. Eloui,’ ‘AC feat. Sam Irl,’ ‘Doing fine feat. Harry-Dean Lewis,’ ‘Winter Violins.’ Each track is broad and proud, each unique in its own way. The songs of ‘Girondolini’ come together to form a space of experimentation. It's industrial and bustling, sounds careening off of worktables and into mixing rooms. At the end of each hall a talented artist, willing and waiting to make this song into something more than the sum of its parts. And that’s exactly what Girondolini does. The textures, harmonies, melodies, and beats on this album are special because of the care that runs through them. That humanity, that complexity means that ‘Girondolini’ becomes one heck of an album. Finishing with ‘Collide’ sends us off into the real world again. But we will always know we can escape anytime we want through the gateway that Girondolini has provided for us. Transformative.



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