Input, an coupling. It does not extend, but it serves as a warning. In the third album of Grande Amore sends distortion. Accelerated, at times strident, it is produced by guitars as they had not produced in their two previous works. “We wanted to reflect in the study the sound of the directs since clear [Redondo] As a guitarist, ”says Nuno Pico (or Valadoura, Lugo, 1995), composer, singer and inventor of Grande Amore. What does not change are the battery scheduled as a rhythm box, nor the low sequenced, nor the existentialist lyric in dangerous times. III (Ernie Records), Grande Amore take above a sonic step forward, there is no doubt. The promotional note speaks of “a pogo to perpetuity”, of an intermediate place between “organic and electronic.” And punk, always punk, no (alone) as a style but as an attitude.
“The idea was to make a noisy album, not to abuse the correction, not touch the pitch”, Nuno extends in conversation with eldiario.es,“ in addition, the noise on the guitars also serves to hide our imperfections as interpreters. We do not have tremendous skills. ”The fundamental lessons of punk, indeed: egalitarianism, do it yourself, the nucleus is the truth of the expression, not polish the edges. But if the goal was Jacobo Naya was so cool that he does not resemble what we did in concert. Now we have to rehearse to play this album live! ”
The mutation regarding II (Ernie Records, 2023), produced by Carlagas, jumps to the ear. “That was a more peeled album, electronic,” he recalls, “a person on social networks made a comment that seemed very exact: before we were an electronics group with reference in rock and now vice versa.” Sound evolution responds in any case to the interests of Nuno, author of all the songs. From the Italo album that he was passionate when Grande Amore debuted in 2019 to the Doom Rock diet, Noiseindustrial or metallic punk that practice their references for this III. In which, by the way, Nacho Vegas collaborates –You eu– And makes a version of the soft -The mythical Damn my luck.
What has not changed, this is admitted by the musician, is his very personal writing. Self -critical and tormented but fun and lucid, noctambula and existentialist, not a few of their songs have ended up converted into hymns underground And, as prescribed by the promotional note of IIIpropellants of the unstoppable pogo that takes over the public during their actions. “I have always attracted the people who write dark. It anomalizes it was when I made letters on a crazy weekend,” he says. You see youHeavy Techno as if a melody of the first Iron Maiden crossed with DFA, would serve as a summary of his poetics: “They are mellor Persoa / is born namorado / fixen bad cousins / but non are bad.”
Nuno Pico has chosen for eldiario.es the eight albums of other artists who synthesize the trip of III and clarify some of their mysteries. “Always cope with the music of others than one of oneself,” he says.
Motörhead – The Lost Tapes Vol. 4 (Live in Heilbronn 1984)
It is not the classical formation of the English trio that battled punk rock and motopropulsed, but is still Motörhead. “When I discovered this band, I did not like the same reasons why I like it now,” he explains: the speed, the extreme rock & roll, the voice of Lemmy Kilmister. In the mid -80s, Motörhead had already registered almost all their canonical albums –Overkill, Bomber, Ace of Spades– And his live repertoire was unbeatable. In 1982, Philip Clarke abandoned and other guitarists paraded. “I love that time of the 80s, distorted, with that equalized battery almost like a rhythm box,” he summarizes. And hurried, hurried, like the great Amore themselves.
Throbing Gristle – The First Annual Report (1975)
“It is the perfect balance between the Avantgarde And a criminal making noise, ”he is right to describe them. The legendary English collective, researchers of the dissonance and pioneers of the unknown territory where electronics crosses with industrial sounds, attracted Nuno’s attention when, after inactive years, he already met in the 21st century.“ I discovered them then and they remained uncomfortable, ”he says,“ since then I have always had them as references but, of course I have always had them as referents, put at your height. They are genuine, pure. ”Aggressive and subtle at the same time, he adds, with a sense of real danger, as who speaks of a mirror for the soul of his own project. Throbing Gristle recorded The First Annual Report in 1975 but did not come to light until 1987. The group preferred to debut in 1977 with The Second Annual Report.
Venom – Black Metal (1982)
Not many bands can boast of having baptized a (sub) musical genre. The English Venom yes: they did it with their second Elepé, Black Metal. “It was the album that we cited the most in the study to define the bells,” he explains, “although a metal can hallucinate if he listens big love after we say that Venom cool us [ríe]”But the connection exists, without a doubt. Venom’s music would be indecipherable without punk. Great amore the same thing happens.” They said they wanted to make an Iron Maiden album but they had no money to do it, “Nuno recalls. The fact is that Black Metal influenced the musical species that adopted that label and yet his proposal was more raw, fast, and supposed one of the foundational stones of the extreme metal then to come.
My Bloody Valentine – Loveless (1991)
The classic of Shoegaze par excellence, goldsmith Noise And pop shape, built based on layers and layers of distorted guitars, is also an example for Nuno Pico on how to build a song. “He taught me to value the issues for the final result, for all the elements simultaneously, and not for each one separately,” he says, “it is a more melodic band than ours, but we learn from it to channel the sonic mass.” Atmospheric and impressionist, also the intense second of the three long albums of the English My Bloody Valentine practically invented a scene and although I frame dozens of later bands, it remains as hardly imitable.
Spacemen 3 – Playing with Fire (1989)
The producer’s partner of III He works at the Polita Bear, the record company that publishes the albums of Nacho Vegas. “We rehearsed You eu And she commented that the song would hit Vegas. ‘Do you care to be told,’ he told me. I replied: ‘Yes, and when I tell you no, Like me, ”says Nuno funny. But Nacho Vegas said yes and between them signed a distorted and narcotic miniature in which the shadow of Spacemen 3 appears. The witness of the Underground Velvet, the noise and the melody, the distortion and the naif are collected. ”The English band took four albums between 1986 and 1991, Playing with Fire It is the third and one of its peaks, and from the separation of its two brains, Peter Kember and Jason Pierce, Sonic Boom or Spiritualized emerged.
Black Sabbath – Black Sabbath (1970)
Arising from the working class of one of the labor cities par excellence in the United Kingdom, Birmingham, Black Sabbath is attributed almost alone the germination of heavy metal. But its dark, dense and delayed sound, with one of the most original guitar work in the history of pop music -tommy iaomm-, goes much further: it is claimed avant -garde and practically solo proposals has caused subgenres such as the doom or the Stoner. “Black Sabbath is like the spicy. Everything you throw spicy,” says Nuno, who seems “incomprehensible”, inconceivable, that “four human beings like others” were able to create the first six albums of the band, all with Ozzy Ozzy Osbourne as a singer. The first, homonym, already contains the core of everything that the English would later reach.
Discharge – Hear Nothing See Nothing Say Nothing (1982)
The punk beyond punk led to proposals such as the one deployed by Discharge, a kind of gothic hardcore whose footprint extends through the trash metal, the grindcore or the crust, genres all of them extreme, noisy and accelerated. “They came from the punk tradition, it is true, but they were very influential in the extreme metal,” he says, “they got a unique energy in the history of music.” Politicized, anarchists, pacifists, some critics place Hear Nothing See Nothing Say Nothnig at the totems of punk and hardcore as the Black Flag or Dead Kennedys debuts. “They stayed at a weird point with those strange atmospheres and those timbres of almost gothic rock,” says Nuno.
Patti Smith – Horses (1975)
“I can’t get rid of that pretentious boy who was and that I still be,” he confesses, among laughs, Nuno Pico, “for better and for worse.” Patti Smith’s first album marked it: “That Art Punk touch will be noticed in everything you always do, even if they are rancheras House” Horses They weren’t, ranchers Housebut punk lyric rock and a viscerality then unheard of, written and interpreted by a woman, not the most common in the New York scene of the 70s. “I still do the songs very from the lyrics”, it extends, “and in that I link with the musicians I discovered as a teenager, Patti Smith, Bob Dylan …”.
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