IMPROPERA

After the brilliant Happy Wretched Family, Non Credo, a duo from Los Angeles, made up of Joseph Berardi and Kira Vollman, returns to the scene of the crime with a new album. It took them more than ten years for this album to see the light of day. So, the obvious question is: Was it worth the wait? If I had answered after hearing Impropera for the first time, my answer would be no, but now I feel completely different. Let go of all your expectations and musical preconceptions because Joseph and Kira will destroy them. People who know the band might also be surprised by the music, or even disappointed, but do not despair, your efforts will be rewarded. It is true that Joseph Berardi unfortunately completely disregarded the drum kit for this effort and the guitar is almost non-existent as well. The record is already unconventional because of this, but the album hides amazing depths that can only come to the fore after several listenings. Only the best musicians are able to conjure up something like this.

This time, the pair decided on a radically different approach than on Happy Wretched Family. The rocking parts are almost completely gone and so are the drums. Kira does use some percussion, but this cannot replace a drum kit. Kira's voice is therefore even more exposed. Her vocal acrobatics are even crazier and more unpredictable. There are even fewer pure melodies and there is more experimenting. Lovers of Christian Vander's screeches and of Dagmar Krause's style will most certainly enjoy this. Besides the vocal havoc, Kira also uses her crystal clear operatic voice, which, combined with the keyboards, makes the music sound almost completely classical at times. If the rock moments are missing, the avant-garde elements are still thick and fast, both when it comes to the keyboards and the vocals. Despite the absence of rocking moments, there is plenty going on with Kira's beautiful operatic voice, the classical keyboards and the avant-garde segments. Eventually, you get used to how different the music is and accept it for what it is. Its beauty and virtues, although different to Happy Wretched Family but equally as impressive, come shining through.

Just like on Happy Wretched Family, the lyrics are important here as well. Kira Vollman knows how to weave some magic with the words she uses and is able to create some outstanding atmospheres. She is able to create a dark world that sometimes seems turned upside down. Her lyrics can be a bit twisted and frightening at times, but that is all a part of the catharsis that the lyrics combined with the music are able to generate. Kira also occasionally uses a seductive Southern belle accent and the contrast between some of the monstrosities she utters and the attractive voice is highly convincing.

This album by Non Credo may not be as easily accessible as its predecessor, but there is a great deal of charm in the music. The qualities are simply a bit different than on the previous efforts of this pair. At first, the record seemed a bit too classical and avant-garde and I thought it was sorely missing the rock element, but on subsequent listenings, once you get past that mental barrier which disables you from discovering music that is so different, it becomes easier. Even people who are into experimental music have preconceptions as to what experimental music should sound like. It was like that with me. Impropera didn't fit into that category which would specifically suit me. But luckily, I got past my prejudice and let the music crawl under my skin and into my soul. This was very fortunate because Impropera is a glorious album, which could easily frighten people away after only a few minutes with its heavy doses of experimenting. If you like experimental music, I urge you to make an effort with this album because you will reap the rewards later on.

Album number three, and the most recent from this LA duo has some interesting surprises. More on that later, but some background first. They began with "Reluctant Hosts" in 1988, followed by the excellent "Happy Wretched Family" from 1995, before they released "Impropera" in 2006. To quote the liner notes. "We had been toying with the idea of an improvised opera for a few years before actually performing what would become "Impropera". "Impropera Phase I" started with one 16 minute performance for the Earjam music festival in LA. It was loose and open, mostly improvisation around a few predetermined themes. We were pleased with the results and thought we ought to expand the concept."

When you open the first page of the liner notes it says: "Impropera, an improvised, improper, importuned, imp opera in three phases." Just under 62 minutes and 19 tracks. These two musicians are multi-instrumentalists, while Kira sings were her incredible soprano voice. I mean these two play everything imaginable. Joe is mainly a drummer, but again there's nothing he can't play. So it was a huge surprise to see he plays sampling keyboards and samples. That's it. This has such an affect on the sound here, when compared to the previous two albums.

I'll quote them again. "Instead of the current method of manipulating samples and loops in the computer using sequences and grids and prefab sounds, all the samples used are homemade with obsolete 8 and 12 bit samples, played from the keyboard the old fashion way. This results in a more immediate, performance-oriented style, as opposed to the usual cut and paste." The result for me is a more interesting overall sound. This is a piece of art in that sense. An opera yes, but what an engaging hour of music where Kira once again impresses with her voice and bass clarinet, while Joe does it his way this time.

The cover art is an actual painting and I really like it. This duo has such a sense of humour, and Kira's tends to venture into the dark side of the humour landscape. I was pleasantly surprised to see they played this past summer in LA their home town. I didn't know if they were still active until seeing that. So we get some different sounds I haven't heard on the first two albums including that dark atmosphere, and an almost industrial vibe with the fake drums done with the keys. This somehow all works, and I give them a lot of credit. Such a talented duo! What I found interesting is that the first phase is my least favourite, while the rest is incredible. Six of the final nine songs are my favourites, so this ends strongly.

Once again Kira is the draw for me with her voice, and the way she manipulates it, along with her bass clarinet. She sings in some strange ways at times. Entertaining always. There's a short "interval" track after Phase I and Phase II, and both are experimental soundscapes. Love the way they set this up to be like an opera. If you Avant fans haven't checked out NON CREDO yet, what are you waiting for? I feel this is their best, slightly ahead of "Happy Wretched Family". If "Phase I" was like the final two Phases, we are talking 5 stars. Regardless, this is a great record.