Inferno Bizzarro, by SIMILOU

Inferno Bizzarro

by SIMILOU

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Full Digital Discography

21

releases

Get all 21 Love Boat Records & Buttons releases available on Bandcamp and save 40%.

Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Gold And Shine EP, Frusta EP, Holy Cobra Dub, Inferno Bizzarro, Similou / The Thugs EP, Il numero undici (Remaster 2022), Riddims 2010-2014, More Riddims, and 13 more. , and , .

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	1.	Fango 02:17
	2.	Liquor 04:35
	3.	War Song 02:13
	4.	P.O.J. 01:52
	5.	Rosa Dei Vermi 01:06
	6.	Ominicchio! 02:28
	7.	Applausi 00:40
	8.	Fire/Flames 02:02
	9.	Fuga 02:19
	10.	Frusta 03:01
	11.	Naga 04:33
	12.	Time/Space 01:59
	13.	Bolero 01:17
	14.	Chew 03:17

about

SIMILOU is Vincenzo Marando's latest metamorphosis.
Known as a (nearly) founding member and long-standing guitarist of Movie Star Junkies, with whom he played across Italy and Europe from 2006 to 2022, and recorded five albums and several singles of fiery roots/punk/blues, Vincenzo is also the mind behind psychedelic rock outfit Heart Of Snake (Maple Death Records), and has other solo releases under his belt as Vernon Sélavy.

Inferno Bizzarro is his first album as Similou, and something almost entirely new.
Inferno Bizzarro is Vincenzo's most bold and unconventional work so far. The one in which the leap between great guitarist in a great band and Author - with an original vision and the talent to achieve it - stands out as clear and definitive.
An achievement in the true sense of the word, from the beginning to nearly the end: Inferno Bizzarro is an album completely written, recorded and mixed by himself at home, in the course of over two years. "It doesn't seem like", one would say, considering how well done, fluid and bright it sounds; but then it seems like, because the quality of its 14 tracks speaks of high level Do-It-Yourself craft, of emotions over perfection, of the dedication needed for giving shape to that same vision by any means necessary.
“It’s a record born out of isolation. After the first lockdown, I was looking for a way of writing/recording that was new for me. I started with recording myself while kicking an old amplifier, thinking it would be enough to shake away all the weirdness I was feeeling, but I ended up unsatisfied. I wrote a lot of material then, but still I kept being unsatisfied.
So, I immersed myself in regressive listening: Michael Jackson, Whitney Houston, Iron Maiden. I was watching movies on Los Angeles gangs as if I was seven and sixteen at the same time. Then, I got back to the exotica sounds of when I was twenty and played surf. I found that music empty, full of stereotypes, essentially sexist and colonialist. Perfect. An enchanted world full of contradictions.
Eventually, I decided to take those improvisations and arrange them vaguely in that style, but without imposing myself some limits, apart those regarding the very few instruments and the poor equipment available. Almost all songs are built beginning from the rhythm. And I kept the track in which I was kicking the amplifier.”

Grounded to the everlasting american roots of Marando's writing and technique (read blues, Tex-Mex, acid garage-rock and guitar primitivism) the album is yet an opportunity to vent some of his less disclosed passions.
The sounds and aesthetics of exotica (hence the new alias, taken from a semi-mysterious song found in a Numero Group box set), the vivid and utilitarian world of classic italian library music, the rhythmic pulse of funk and tropical folklore, the forward push of minimalism and avant-garde, the example of rock’s great outsiders, the creative but restrained use of sampling.
“I tried to use sampling in an ethical way, but I’m not sure I managed to. I didn’t want to simply take fifty year old recordings and play on them, but at the end that’s what I did, without slowing down, manipulating or cutting anything, just extending some tracks in length. During the recordings, I found out that both the songs I used as a whole as basic tracks for improvising, sung respectively by two tribes in northeastern India and Myanmar, are war chants.”

Why Inferno Bizzarro?
“It’s two words that get used often - in italian - for international film or record titles inspired by the exotica/tiki/library aesthetics. I googled them, and despite the immense producion of those years, titles associating the two terms directly don’t seem to exist. I like thinking of the record as some sort of gate to an hellish dimension, but a bizarre kind of hell, non entirely serious.The record’s artwork is by Krano, unaware of the fact that I wanted to use an illustration by american folk artist Eugene Von Bruenchenhein. One day, after listening to the songs, he sent me this mash-up od drawings that wasn’t by Von Bruenchenhein, but strikingly reminded his composition and colours. It made me think that if we both had a similar overall view of my music, thta image could be a good visual representation of the record’s content.”

“Some velvet morning when I’m straight/I’m gonna open up your gate” (Lee Hazlewood)

“Fede e saggezza mi fan vedere lontano/Là là al di là del cancello/Ancora più in là dove si spegne il tramonto” (Psyko Killa aka Contempla/Gatekeepaz)

“Stasera mi è suonato il campanello/È strano io l'amore ce l'ho già/Vorrei aprire in fretta il mio cancello/Mi fa morire la curiosità” (Orietta Berti)

credits

released April 28, 2023

All songs written, recorded and mixed by Vincenzo Marando at home in Coassolo Torinese, Italy (September 2020/November 2022)

Mastered by Nene Baratto at Morphine Raum, Berlin
Artwork by Krano

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Love Boat Records & Buttons Italy

DIY record label based in Torino, Italy.

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