. issue X : v .
Italian psych rockers Giöbia return with Introducing Night Sounds, out on Sulatron records. A ’60’s influenced tour de force of Technicolor psychedelia, Introducing Night Sounds virtually drips with heavy organ and keyboard, sitar that adds some exotic spice and loads of spaced out guitar with tripped out frosting right where you want it. An immediate comparison for bearings would be to the future-revivalism of Vibravoid, but like that outfit, Giöbia have their own distinct groove going on. Take that one step further and underneath their hypno-swirl of psychedelia and instrumentation are the pulsing heartbeats of hook-laden songs that never get trampled beneath the groovy heaviness. Giöbia also don’t shy away from pushing the past into corners where others might think it won’t fit, like the stunning opener with its dark Lumerians-like throb or the hopped-up gallop of the superb Orange Camel. The confidence they have in where they draw their foundation’s strength doesn’t waver, so the side trips and digressions dovetail right in with the whole scene floating around your ears.
“Can’t Kill” maintains the loopy elevation started out of the gate with a slightly sinister organ intro that feels shot back to the future day from some swinging sci-fi shindig and highlighting how integral keyboards are to Giöbia’s arsenal. The first single, “A Hundred Comets,” gets a little shoegaze sheen that bubbles up elsewhere throughout Introducing, adding even more variety to the dynamics and more flavor to the psych stew. After riding the “Orange Camel” hard and working up an appetite, Giöbia go for a big bite of Electric Prunes, taking on “Are You Lovin’ Me More (But Enjoy It Less)” and loving it even harder so you can maximize the enjoyment. You got to wash it down with something, so pop the cap on the lava lamp and take a big gulp of “Electric Light,” a Syd/Floyd flavored orbit that circles and penetrates in equal measure. The placement of “Electric Light”—after handling the Prunes)—is as good a place as any to point how excellently the album is sequenced. Giöbia already bring more variety to the table than most like-minded outfits—from the pop to the interstellar—but the cuts are laid out to maximize how much is under the hood and what’s boiling over on the stove. There’s no hodgepodge tapestry of unrelated threads woven here. Without a weak cut to be found, the running order could have been anything and the light would still shine right through, but the care in sequencing is evident, and it makes Introducing stronger as a whole while each track compliments its bookends. Case in point: the other cover to be found, a rousing version Santana’s “No One To Depend On” placed next (but certainly not second). “Silently Shadows” brings the party to a slow, almost melancholy close, rounded out with some off-kilter sounds of the carousel wheel coming unhinged before Giöbia pulls the final curtain.
Introducing Night Sounds is not only a fantastic calling-card for those making Giöbia’s acquaintance, but a red carpet welcome to a party that has never stopped.
by Mr. Atavist