THE SOCIETÀ ANONIMA DECOSTRUZIONISMI ORGANICI

The album's title "La Differanza" sounds like an orthography error but it's not. It's a word invented by the "deconstructionist" philosopher Jacques Derrida, inheriter of Hegel and Heidegger. Différance (in French) was intended as a break in the linguistic, and not only, rules.

The album has been recently re-released

"Chaos Part I" is not so chaotic as the title may let intend. Yes, it opens chaotically with drums and sax, but I'm used to call this "jazz", and it's surely jazz when Savoldelli says "A monk at the piano plays a religious silence" with the help of jazzy bass and later clean jazz guitar. The influence of Stratos and maybe of the late Stormy Six seems evident.

"Sisem Sint Ianez" is a trange title. I haven't found any info about what it means. I can only translate what Savoldelli says: "Low frequency phantoms cross the walls". Musically is a bit more difficult than the first track even if I can't call it chaotic. It's a sort of experimental jazz with some splendid moments technically speaking, in particular the piano performance is sometimes remarkable. This track reminds me to another Milano's side project: the Radiata 5et.

"La Bomba"(The bomb) is opened by the bass. Savoldelli makes a false "advertising" before singing on high pitches. The interesting thing of this track is that every instrument plays on a different tempo but all together seem tuned, like a sort of polyrhythm. After three minutes there's a vocal solo on which the singer shows his vocal extension and some sounds that I remember in Stratos' "Cantare la voce". What follows is experimental jazz. Again bass, classic guitar, drums and sax play on different rhythms but on the same total number of beats

"My dose of crazyness is a personal privilege". Savoldelli cries trivial sentences on a base of bass and drums, but finds also the possibility of making a bit of scat. "Teeshe" is another strange title. The disconnected sentences spoken by the singer make my think to a contraction in the sense that he's speaking sentences that could be printed on a T-shirt. Another quite difficult free-jazz track.

"Ilenia's Ballad" is an island between the chaos. Bass drums and sax play a melodic standard on which there are some "disturbs". A very unusual track. The contrast bewteen the chaotic and the melodic part brings to my mind the album recently released by Hanashukketsu.

"Gino Valetodos"(In Spanish "vale todos" means "values everything"). Is a very short electronic track again with a strong contrast created by a melodic and a noisy thing played together, even if this one is more melodic oriented.

"Anabasi" is the most famous book of the ancient Greek historic Xenophon, about the jouney back home by a defeated army through the mountains of Caucasus. Also this track has two different souls: one is typically avantgarde and the other is oriented to the melodic jazz. The trick for the listener consists in disassemblying and reassemblying them during the listen. The electric guitar and a crazy choir close it.

"Ackpe" has English lyrics that I can't catch because of the other intruments volume. I also have the suspect that what Savoldelli sings are just words with no sense. However it's a good jazz moment with a bit of swing hidden behind the apparent chaos.

"Chaos Part 2" starts with some recordings played reversed, a Savoldelli's scream, bass, drum and xylophone. on which guitar and sax engage before a higly noisy section wich lasts for one minute before the previous environment is restored.

An excellent addition for who is familar and ok with non-easy music

My experience with SADO so far, after becoming familiar with their two most recent efforts, is that they are an unpredictable and rather challenging ensemble, with a stylistic foundation residing somewhere within the jazz realm, but frequently reaching out towards other stylistic territories, if not in full then at least on a more detailed level. "Weather Underground" stands out as a really well-made effort in this respect, with a thematic story that in itself is an intriguing experience. And if you enjoy jazz incorporating avant-garde, experimental and free improvisational features with frequent flirtations with fusion to boot, this is a CD you might want to become familiar with.

Those who have a keen interest in free form jazz and at times highly challenging avant-oriented rock with a jazz foundation should be thrilled by this album. The musicianship is excellent, and from an intellectual point of view the spoken monologues (English translations are given in the booklet for the CD) together with the subsequent performances should keep the mind pretty busy. However, if you rely on passionate moods to enjoy your music then this album might warrant being approached with some caution. And those who are fond of strong melodies and sophisticated harmonies might want to steer clear of this one, as this is an effort with a total focus on challenging features only.