Research | GIS Studio
JEALOUSY PARTY | ALL YOURS
JP Bandcamp | JP website
Available new albums on sale, on digital download and as physical limited edition releases.
If you are interested in supporting, please contact JEALOUSY PARTY and buy the albums.
The artists and us will appreciate your attention.
Scroll down to read the interview.
And if you want to make your own research while reading, the bold/strong letters are direct links.
Jealousy Party Members:
Roberta WJM Andreucci | burpenterprise.com/wj-meatball
Roberta WJM is a percussionist, an experimental producer and DJ, and on air personality. She has more than twenty year of experience organizing and promoting alternative music events.
She practices plagiarism and the cutting and mixing of musical and ambiental aural sources.
Early in her career she started focusing on the use of voices and on vocal metalinguism,
focalizing on her personal practice of "cuttingandslicing" and on rhythm patterns obtained through an improper use of her tools of the trade (cdjs, cd player, md, me mixer).
Through the years her percussion set morphed into a hybrid encompassing a dj booth, a radio dj one, a microphone station for electroacoustic experiments, and a mnemonic butcher's slab.
She is a founding member of performing music units such as Jealousy Party, Semerssuaq, The Secretaries and Sistemi Audiofobici Burp. She is the director of the music label Burp
Mat Pogo | burpenterprise.com/mat-pogo
Born in Rome is a vocalist and graphic artist now resident in Berlin. He started his musical activities in the mid 80's as a singer in several free form rock'n'roll bands as
Dum Dum Power, Electric Citizens, Box of Surprises, I Tifoni, Feten7 and Minga.
In 1990 he was one of the founder members of the Burp Enterprise multimedia collective originally based in Florence. Still in full activity the collective then expanded internationally
developing a musical label and publishing house called Burp Publications responsible for some of the most critically acclaimed projects from unprotected italian underground.
Mat Pogo, beside his path as a spontaneist songwriter, moved from experimental rock to more abstract material, and in 1995, together with percussionist/DJ Roberta WJM Andreucci and
reed player Edoardo Ricci, he founded Jealousy Party. Still in activity JP is one of the most advanced musical units in Italy mixing with personal touch soul, improv, avant rock, noise
and error music.
His solo set features his voice, a microphone and some electronic devices. He developed his own language as a vocalist using his experience as a rock singer, an improvisor and radio
artist where music, sounds, anecdotic and narrative elements fuse constantly. Weird processed vocal eruptions, intense screams, occasional words, pitched mouth cavity noises and
electronic textures melting together in a very expressive way and often with a delicate sense of humor.
He's a founder member of dj collective SISTEMI AUDIOFOBICI BURP and shares the abstract/ambient songwriting experiment PENATES together with sound artist JD Zazie.
His Berlin based projects have been so far meta grind free core trio B UNIT together with JD Zazie and drummer Peter Schlewinski, noise & rhythm unit POKEMACHINE together with
multinstrumentalist Anders Hana and NIGHTHAWK KITCHEN with Ignaz Schick.
Edoardo Ricci | burpenterprise.com/edoardo-ricci
Edoardo Ricci is a key figure in the underground music panorama in Italy. He's an accomplished multi-instrumentalist, caustic illustrator and irreverent poet.From Avantgarde Jazz to free improvised
music, from experimental rock to primitivist cabaret and noise exploration, his career delineates a unique personality in a forty-year long trip in music from the other side of the fence.
In the late sixties he concentrated on reed instruments. Even if he favors alto saxophone and bass clarinet, over the years Ricci developed his own personal technique on many other
wind instruments including trombone.
In the early seventies, he gained notice for playing in Guido Mazzon's Gruppo Contemporaneo. He became a revelation in the Italian avant-garde jazz scene and soon he became interested
in radical improvisation and experimental music.
In 1973 together with Francesco Donnini he founded the legendary pataphysical orchestra N.E.E.M. based in Florence. A large ensemble that blends composed and improvised music and theatre
in its own idiosyncratic way. The Orchestra recorded one cult album in 1978, Come Eravamo Brutti da Piccini on the Materiali Sonori label and a second one, Lo Jodel del Segafanciullo
in 2002 on Burp Publications under the moniker of e-N.E.E.M. Projekt. The group is still active.
In the late seventies and early eighties among the many artists he played with, were Tristan Honsinger and Sean Bergin and with Muzic Circo and Padouk. Also in the late seventies,
Ricci started his collaboration with Eugenio Sanna, later documented by two albums on Burp Lo Scorfano Miracolato and Le Sette Premonizioni Ortofrutticole, that were recognized as representing
a crucial moment in Italian creative music at that time.
Since the nineties his musical path lead him to encounter a number of international figures among which the heterogenous Florence-based collective Burp Enterprise. In 1996, he joined
Mat Pogo and WJ Meatball in Jealousy Party and founded Crap with trumpet player Roy Paci and drummer Jacopo Andreini. He also played with freeform heavy rockers Bron Y Aur and in 2001
recorded I Segnali della Ritirata with Eugenio Sanna and Roger Turner.
In 2013 he contributed to two Jealousy Party albums, Mercato Centrale, for Burp, and All Yours on Audition. Currently, he plays with the Florence-based new music collective Blutwurst and with
the noise project Athanoi together with Stefano Bartolini. He plays on "Morire Per La Patria" the most recent album by the Milanese avant rock unit Fuzz Orchestra. Live In Pisa, a second
album with Eugenio Sanna and Roger Turner is out now for Burp Publications.
Jealousy Party: Mat Pogo / Roberta WJM / Edoardo Ricci
"JEALOUSY PARTY" TALKS:
Jealousy Party is an abstract r&b band founded in Florence, Italy, blending noise with free funk and idiosyncratic electronic collages in a personal way they call punca.
Active since 1995 they built a personal and recognizable style even keeping their personnel constantly open to variations and flexible for specific explorations.
History of Jealousy Party / Burp Enterprise / the scene in Florence in the early 90's / and much more...
POGO: JEALOUSY PARTY started his activities in Florence in 1995. Founded by
WJ Meatball on percussions and tapes and myself (Mat Pogo) on vocal duty,
soon joined by Edoardo Ricci playing wind instruments.
JP started as Burp Enterprise collective's most radical outpost. For musical and management reasons.
Musically it was
a step forward, or aside, to what the other musical projects of the Burp collective were doing in the previous five years, since the collective was founded. Which was mainly experiments
in out rock in combination with radical improvisation, especially after meeting Edoardo Ricci and Eugenio Sanna. JP added the sampling element, which very soon evolved
in a self sampling method which is still developing today. Through this perspective we went to explore the borders and limits, the shifting moments, between improvised and composed
musical material, between live and recorded sound performing.
Investigation of real time organization of musical elements and structures, analysis of soloist phrasing as a generator of, first rhythms and then, whole structures.
At the time Bob Ostertag's Say No More project was highly influential on what we were trying to do. As a live unit we thought JP could have been the tool for performances and actions
outside the usual format, like concerts through touring and promoting records. We thought it was more relevant to be a testimonial of our presence in specific living contexts...
WJM: ... Collective situations, open air demonstrations, house occupations, dinners, breakfasts, parties, with a predilection for self organized realities.
In the context we were, since we weren't considered very musical, opened up for action and performing. For a while we worked with this kind of emotional improvisational
spontaneous rocknroll thing with collages. It happily embraced a lo-fi aesthetic for several different reasons.
Jealousy Party: Mat Pogo / Roberta WJM / Jimmy Gelli. Picture by Giovanni Succi.
POGO: During that time we were collaborating with likeminded realities, participating in collective projects, compilations and constantly recording ourselves,
but we never felt the need to record and publish an album, for instance. The first one, Now, came out in 2006, 11 years after we started. When many things around us were completely changed.
WJM: But we all had other different projects doing more or less the regular thing. So it was not a particularly traumatic decision. We just thought that with
JP things should have been a bit different. The personnel based on a trio of voice/expanded percussions/wind instruments was open to guest collaborations since the beginning and it remained like that until today.
Spending most of our time at the C.P.A. Squat in Florence - which between '95 and 2001 was the place that hosted many working spaces for many different groups
and realities, and not just musical ones - the idea of being able to mix with different people, musical elements and media was quite at hand.
POGO: We had started the BURP thing five years before, we were playing and setting up gigs, drawing, writing and publishing rags. The activity in squats in Florence like CPA
BuBu7te and Ex Emerson contributed to the variety of cultural backgrounds of everyone involved.
We didn't had a specific niche or audience to relate with. In a way there was a lot freedom.
WJM: We shared the places and a common musical interest in improvisation, which helped mixing knowledge about different approaches.
Picture by Mat Pogo: "it's us just after 'All yours' recordings... after losing the plane to Berlin,
and for 1 sec realizing we have to sleep at the airport. It gives the idea"
POGO: During these years, while we were strengthening the relation and friendship with core burp members as Edoardo Ricci, Nicotina and Jacopo Andreini,
we improved collaborations and started
new ones with people like underground metafilmmakers Ogino:knauss, conceptual artists and noise guys like Massimo Contrasto,
Steve Rozz coming from the Bambina Precoce and Strano Network
experiences, hc and counterculture testimonial Syd Migx, Jo La Face and Officine Cinematografiche
, theatre group Kinkaleri, artist Pino Ridolfi,
and the amazing N.E.E.M. Orchestra, just to name a few.
WJM: This practice of improvising with different expressions gave the strength to JP to record four tapes: NOW (1995) and August (1996) on Burp Sonic Inventions;
Live at Pilone (1996) and JP meets Roy Paci (1997) by Frigorifero Prod. Jacopo Andreini's label. JP recorded studio 3 pieces as well: the very first was I Take Off my Glasses, recorded in Florence at studio
Bunker House for M.A.O. Ti Fotto In Testa for OMI - Orchestre Meccaniche Italiane and Bread for The Last Famous International Gluttonsout both for Snowdonia. Just little before BSI published the remix of tracks
originally by Erasermen, Erase this Tunes and JP did it too (Labbra Dure rmx) the compilation.
POGO: These three anthologic albums - M.A.O. - Music Against Ourselves, for our own label Burp Sonic Inventions and the couple of compilations by recently revived Snowdonia label,
now based in Messina, Sicily - somehow helped to define the late 90's italian underground music scene. It took two or three years more though, before the work of musicians, bands and
labels started to be recognized, by the protagonists first. And this process meant finding ourselves in a new, wider scenario, where a new network was eventually starting to operate,
where possibilities for collaborations of many kind were opening.
WJM: It was an exciting moment for the ones who wanted to define a space of movement outside the established circuits, with a need of genre crossing and interpollination,
but looking for a continuity with a countercultural logic. And this helped the mixing and the intergeneration exchange.
RICCI: Some fresh meat for the older ones
Weekly Fight by Edoardo Ricci
How did you meet Edoardo?
POGO: I met Edoardo while playing together with Il Tempo Urbano, a band in Florence that unfortunately never recorded any album but was crucial for our development. With Helmut,
the bass player, I had a band called Latorta Dipelle. It was a trio. Voice, electric bass guitar and double bass played by Filippo Pedol. I remember we opened for Ruins once.
Their drummer Massimiliano DeVuono was drumming in the Box of Surprises. With whomI recorded an album in 96 which came out on Burp four years later...
WJM: Fred Zonker, their guitar player was in Nicotina's Erasermen for a while as well.
POGO: Playing with Il Tempo Urbano led also to meet saxophone player Stefano Bartolini. It took years to meet him again. But then he became deeply involved in Jealousy
Party for our joy and pleasure.
WJM: It was a gift to meet Edoardo!
RICCI: I was always looking for new musicians to play. So when things started to be a bit stiffy I met these other boys and girls...I took them to
play inside this abandoned shaft, part of a bridge in southern Tuscany. There was a nice sound inside. With them I practiced trombone.
WJM: Jacopo Andreini played with us since our first live performance.
At the very beginning he was playing alto saxophone
and later, when I shifted more into playing recorded material, he added drums. So he basically came in and out of JP for 18 years. He played, recorded, produced so much of our
material that he definitely left a deep mark on our development, even before reinventing a special percussive grammar together with the recorded material which has been one of the
main traits and linguistic achievements in JP's music. But this happened later. While recording Again.
"Stuck on you" by NiKT FOLLOW HELLO
POGO: Jacopo is a constant source of inspiration. With his label Frigorifero Prod.
he released some JP tapes, at the time he was playing with Bz Bz Ueu and Nando Meet Corrosion,
two of the most amazing italian rock bands in the underground scene in those years. Later on he went touring with OvO and
was part of the Phi- Phenomena tour held by Cock E.S.P. He was and still is a continuous source of musics and
ideas, a creative volcano and, at the time, by far the one with more international collaborations.
Burp Sonic Inventions Label into Burp Publications:
WJM: As a founder member of the collective it was easy for Nicotina
aka Nikt Notoni to drop in the JP once in a while.
Before starting JP we already had played together many times, in the more idiosyncratic, extemporary burp outfits. When JP started Nikt was about to leave Erasermen
and developing the casual guitar grammar. And this really fitted with semi improvised funk abstractions we wanted to do. Even if he's on
many of our recordings we never worked enough together, focusing on his playing and compositions. That's something I very like to imagine in the near future of JP.
POGO: Nikt moved to the US in 1996, just before the activities in C.P.A started to run in a different and more vital way. It was kind of a problematic separation because the man
was really involved in many common activities and not just musically speaking. Burp Enterprise has always been involved in graphic stuff and comics as well. But anyway somehow we managed
to keep very much in touch. And actually, as it happened when i moved to Berlin later, the fact of being physically distant became an occasion to open our perspectives. For instance
to Nikt happened to move to Providence -Rhode Island in 1998 when the Fort Thunder scene was blossoming. I remember hearing about Lightning Bolt, Olneyville Sound System, Arab On Radar
and many others by him way before these bands ever toured Europe. In Providence Nikt started to play with the Barnacled ensemble after Jacopo organized a recording session over there
for his album VS 900, which came out later on Burp Publications.
WJM: With Nikt we kept on working on a regular basis. In fact, much of his explorations on casual guitars he was developing over there, we recorded it in Italy - including the
Nicotina & the Legs album - we produced for Burp, which shared some material with the Barnacled repertoire.
We started meetings at C.P.A., at the squat's movie theatre, we called those meetings Soul Limbo Sessions. During this period we had the chance to explore music with other musicians.
Every wednesday people was invited to play in different combinations. In 1997, following this approach, we recorded the first meeting of Colonial Recordings with the collaboration of
Jacopo Andreini who published the cdr in his own label Frigorifero Prod. In 1998 we recorded Colonial Recordings - Notes and Sketches for Muscle Head Music which came out as a cdr for
Burp Sonic Inventions, our label at the time which in 2000 morphed into Burp Publications.
POGO: Actually Burp Sonic Inventions became one of the Burp Publications
series, among Il Canzoniere Muscolato, a collection
of self-taught and spontaneous songwriting in 10" vinyls, Mhmusic - a series thought for long players, and some other more or less urgent divisions. For instance the old idea of having
a series of short glances to some works in progress, I Morsi, has been recently revived and can be enjoyed here [link].
WJM: As a matter of fact Burp Publications first release was a revisited reprint of Colonial Recordings. This album started Mhmusic
, the main Burp Publications series that tried to document our developments until now through 23 titles. Mhmusic
is over now and ended with Mercato Centrale, this year's JP album - with the octet format, somehow bringing back many of the ideas and tensions developed through the Colonial
RICCI: It was a pretty good way to get ready for the big national squirt of shit yet to come. At the end in 2001 the CPA squat was evicted to make space
for a mall. Wasn't it? Ah yes.
It was Coop. It is owned by the democrats... [CPA Fi Sud - Centro Popolare Autogestito Firenze Sud]
POGO: It was a weird moment. Generally speaking it was when for the first time you could really start to see the effects of the social, cultural, political disaster that shaped
Italian society in the last twenty years. An aggressive reaction was profiting of the more and more invisible opposition to it. From our little point of view this meant being more
isolated than before, having very little to share with the "alternative" scene and having the urgent need to establish our own desires, thoughts and needs. In a provincial panorama
like the one in Florence we started to open boundaries. Musically speaking it was the time when we organized hundreds of concerts, calling the most diverse people as Evan Parker, Eugene
Chadbourne, Autechre, Pan Sonic, many bands from the Dischord scene, Blast, Otomo Yoshihide for instance, which at the time somehow no one else was booking.
WJM: In Italy, unfortunately - and not only in these last critical years characterised by disruptive economic and political circumstances and dynamics - there are various
restrictions and limits imposed to cultural expressions. In my personal involvement with the BURP collective, since more than 20 years, we kept on trying to facilitate and support
the circulation of ideas and practices to antagonize main commercial circuits.
POGO: Anyway those years from 1995 and 2001, that I can see as Burp Enterprise's second phase, where an interesting time to spend in Florence and it might sound odd to many.
It was the classic right combination of people in time and space. A nice spurt of creativity, ideas and action. One of the most exciting moments in my life, probably. Musically speaking
it was the moment where us, coming from a rock background started playing with people from avant-garde jazz and improvised music, guys into hip hop, electronic dance musics, experimental
and noise. Mixing groups and generations.
RICCI: Like a nice orange juice.
WJM: A magic moment that somehow abruptly ended and changed into something different after CPA was evicted.
POGO: Now, our first album, came out in 2006 as a documentation of something we had done. The way we were involved in seems didn't gave us many chances to describe it until that
phase was over. Of course it took a while to have Now out. The process was very long.
WJM: After the CPA's eviction, which led to another occupation, we kept on doing concerts, festivals and recordings there (more colonial recordings, the first takes of Mercato
Centrale for instance) but, as it seems to happen, for many reasons, things constantly change.. We kept and renewed our pleasure in having some action at the former EX Emerson Squat,
now nEXt Emerson, after the some years previous eviction, an other one. And a new generation of self organized places were popping up in Florence. Like Elettro +
and beloved Vagine Volanti Castle. But it was a kind of weird, difficult phase, especially the first years,
notwithstanding a massive burp related contingent of people was working at a local radio station, but that's another story… meeting Andrea Caprara,
and all a mix of events that led Jacopo Andreini to move to Andrea's house opened a new season. The Isola Cannon Jack Years.
RICCI: No way to get bored here.
POGO: Yes. The house Andrea and Jacopo were sharing was actually a farmhouse in Nipozzano, in the countryside. Twenty minutes by car from Florence.
A place to meet, a kitchen, a rehearsal space and a studio. Andrea's dream was to have a rehearsing and recording environment to work just with people he liked. And piece by piece
he brought this project in the game. A studio, many bands, and labels Idee Nere and SGR. We recorded there
one track for a compilation for the florentine label fromScratch "collisioni in cerchio", and soon operations to record what became Again started.
The 2000s / Important Changes:
WJM: In 2006 Mat and JD Zazie moved to Berlin, we wanted to do other music and in a different way, and...
RICCI: ... and dinner was ready!
POGO: Man, and it was not just us. We discovered that in that area there was a whole community of people sharing houses and many other affinities.
And music was one. With some specific interest in folk music and improvisation. And the Isola Cannon Jack was a place to gather.
WJM: An invaluable occasion to play, experiment and work on sounds and recording techniques. Having all the time and ambience to concentrate on details and
try things out.
It lasted until this year. Now the studio and the house is over. But it changed many things in the development of Burp activities and definitely the sound and the music of Jealousy
Party. Last thing we recorded there is this material here on Audition.
POGO: After Again came out in 2008 for our own label Burp Publications, the JP explored the possibilities of several formats, ranging from the core trio to a nine piece ensemble.
This incarnation is documented by Phonometak 5, a split 10” with american band Talibam! published by SoundMetak
and Wallace labels,
and one track in the compilation Niente Records Vol.1. JP as a quintet is documented on Live, an album
that came out in 2010 thanks to a network of italians labels as Burp Publications / Frigorifero Prod. /
SGR musiche / Bar La Muerte
/ Boring Machines / Fratto9 Under the Sky /
Megaplomb / Trasponsonic /
Valvolare / Wallace ...
WJM: We tried to bring on tour the band in different incarnations. Somehow strong of the fact the balance within the trio of Me, Mat and Edoardo, and some
common aestethic choices,
were deeply strengthened, we thought we could start a new season of collaborations. The aim was not anymore just to expand or explore some specific areas, but to really imagine a band
that could incarnate the trio's language in a more functional and appealing format.
POGO: At the end the idea of an abstract r&b combo still sounds pretty good to my ears.
RICCI: It was a very rich, long, but exhausting process and economically disastrous.
POGO: For at least three years we tried to have enough musical material to be interpreted and developed by the different configurations. We learned what
it meant playing adding
Jimmy Gelli on electronics, what meant to have Stefano Bartolini as a second wind instrument, with and without drums, with the addition of Nicotina's casual guitar.
But always functional to a somehow composed material which had big debt to improvisational performing, strategies and techniques.
Jealousy Party at NK.
Picture by Laura Fusato.
In 2008 you released and dedicated "Again" album to the king of R&B Ike Turner,
the explosive Again mixes soul music, post free jazz,
hip hop deviations, freeform rock'n'roll, non idiomatic improvisation, orchestral arrangements,
collage techniques, spontaneous and self-taught songwriting and some noise,
in the Jealousy Party stylee. Muscled Music for Bulbous Brains Again Again and Again:
POGO: Recording the album Again there, meant we could start a new level of research on our sound. How all the influences and juxtapositions of our music
could properly sound in a recorded format. Incorporating the live recording in a aural environment that could guest organically all the different elements. Collageism, electronic, electric and
acoustic instruments interrelation, wind instrument music, freeform r'nr, the many qualities a recorded voice can have.
WJM: For that album we started recording with a core band of myself, Pogo, Ricci, Andreini and Jimmy Gelli. Incorporating Stefano Bartolini playing tenor
and baritone saxophone, and Andrea Caprara during the recording process.
POGO: Jimmy was in the Burp Collective almost since the beginning for musical and graphical reasons. He was playing heavy fuzz bass guitar with florentine
underground rock band The Flintstones between 1985 and the beginning of the nineties, and Electric Citizens with me. He became really interested in early electronic music and extreme
dance music. Consequentially in Djing.
WJM: And we shared the love for rhythm and blues and dancing! Since 2003 he started to play regularly with JP. These days he's working on sound installations.
A piece call Web Riots is about to be released on the I Morsi series. With him and JD Zazie we founded the dj collective Sistemi Audiofobici Burp. From which we took many ideas for JP.
Jealousy Party /
From left to right: Jacopo Andreini, Edoardo Ricci, Stefano Bartolini, Roberta WJM, Mat Pogo, Nicotina (Nikt Notoni), Jimmy Gelli.
WJM: After working for a while with the larger band we wanted to start a series of recordings of improvised sets together with one external musician,
in order to have some moments to check what happened to the the trio dynamics. We started with guitarist Eugenio Sanna. Not only he collaborated with Edoardo for years, but he is
a major inspiration for the Burp collective's musics and a friend.
POGO: We published a couple of albums by the Ricci and Sanna duo and other two albums in trio with Roger Turner on Burp Publications. Instead of interacting
with some new language we thought it was much more functional to what we were trying to check, to play with a musician we knew very well. Actually a personal reference point in finding
a way in the web of improvisational possibilities.
WJM: But this was exactly what we were looking for. To check how our conversation was proceeding interacting with a fourth polarity which knew our dialect,
and in part informed it. A bit like a family gathering after some years of being away. The Plus projekt started in 2009. JP + Eugenio Sanna, produced by Burp Publications and Setola di Maiale,
presented in March 2010 with an italian tour was the first outcome of this series. The other three meetings planned are with percussionists Filippo Monico, Stefano Giust
and Julian Bonequi.
Jealousy Party Collaborations & Releases:
In 2011 JP concentrated on live performing, finding new ways to present our musical material and working in the studio. In 2012 the JP performed live again as a duo - a document
of this phase is available by downloading the ep Marchia Sodo published Burp Publications in the I Morsi series - the classic trio with Edoardo Ricci, a quartet with composer/sound
designer Nicolas Wiese with whom an album titled Relative Memory came out in April for Berlin based Absinth label.
by Jealousy Party / Nicolas Wiese. Published by Absynth Label | Album HEAR IT [bandcamp] | ABSYNTH [label]
Nicolas Wiese and Jealousy Party / Absynth Label:
POGO: Nicolas is a graphic designer, sound artist and electroacoustic composer. We've been fascinated by how he used samples and real time sampling in an
WJM: And he knows about beats as well.
POGO: We gave him some vocal samples, some alto saxophone and bass clarinet sounds and phrases by Edoardo and some material from WJM's archive.
Then we met for two improvisational sessions. After that it followed a phase where Nicolas reconstructed the whole material. Reinventing a whole new sound design for JP. He radically
transfigured our sound but keeping this process somehow very loyal to our improvisational dynamics and narrative. As an ending result Relative Memory is definitely a Nicolas Wiese album,
and at the same time a truly genuine JP album
RICCI: If not the best we ever did, for his sound and conceptual focus.
WJM: A great achievement and development in our continuous sampling, improvised mixing composing techniques investigation. And it's so great that a label
as Absynth wanted to release a work like that, which falls outside from what might be expected to be published by them. Even if we are constantly trying to push forward the development
of our language, in the JP continuity is a stronger element than the avant-garde impetus, if something like that is conceivable now.
"Mercato Centrale" | Album BUY AND SUPPORT
Mercato Centrale ( You have to hear it definitely | Support and buy ) / Jealousy Party Octet:
POGO: Last May we released Mercato Centrale on Burp Publications as the last title for the Mhmusic series. It has been recorded by JP as an octet.
It's an album with a tender need to say something about these tragic years in Italy. There's a lot of italian lyrics in it. I wonder how much this might affect the listening.
WJM: Once again it has many different things in it. And I fear it probably asks for different ways of listening as well. It is a quite long album, the longest
we ever made anyway, and probably quite demanding. Even if it has some of the 'poppier' moments we ever recorded and a Stevie Wonder cover version too.
RICCI: There's definitely a live JP spirit in it, but more systematically than before it incorporates some of the other musical interests of the Burp
Collective. Like my ongoing discussion with Stefano Bartolini on wind instruments, Nicotina's casual guitars, radio comedy, songs and electroacoustic methods just to say the first
ones that come to my mind.
The History of "All Yours" album:
WJM: All Yours is a studio album but captures the live set we were touring with the last time we did it as a trio in november 2011. After a couple of
weeks of touring we directly jumped into to the Cannon Jack studio and recorded the whole set live. After that we played again as a trio but just for single gigs. We played around as
a duo but we hadn't toured with Edoardo since then. Seems harder and harder for JP to achieve an acceptable deal, enough for three people to keep on doing things...ñ>
RICCI: We probably should work a bit better. What do you think?
POGO: We recorded with Matteo Bennici and mixed it with Jacopo Andreini. We asked Kunto Bertiaka to add some percussions. She plays conga and process
them as well. It's a 5 tracks album. 3 more song oriented and two longer ones, a bit more abstract. All yours, the track I mean, is built around some syncopes we experimented with while working on the Marchia
Sodo ep, Stamps - actually a Steve Lacy piece - and Fullerene are reinterpretations of pieces from our previous albums, Domani Piove is an arrangement of a WJM's track
(just published on the mini album No on the I Morsi series) and Fucked Primadonna an arrangement of a vocal piece I did.
Jealousy Party / Mercato Centrale. From left to right: Stefano Bartolini, Jimmy Gelli, Mat Pogo,
Roberta WJM, Nikt Notoni, Andrea Caprara, Jacopo Andreini, Edoardo Ricci. Picture by Veronica Citi.
The work of Jealousy Party is for us - in Audition (and for me especially) - a strong influence,
paradigm and inspiration in many senses.
"ALL YOURS" album has many unexpected conceptual and aesthetic "jumps" in comparison with your previous works,
and we love it precisely because of that. All yours could be or not an "ultra-weird"
difficult album... and probably the problem - not really a problem - is that "we're so used to hear experimental music
standards"... so ... referring to that, in 'All yours' track you're doing
this kind of peculiar "romantic ballad" vocals, so we can see you are trying to do something completely different...
and in fact, we consider this attitude could be possibly even more experimental and risky than "established
experimental music"... What do you think?
POGO: I don't think for me it's a matter of being more or less experimental. To experiment I must be specific. It must be clear what I'm experimenting,
on which kind of material and in which direction. At this point with JP I'm - more - trying to be comfortable with my own expression. It could sounds naive. But the fact of
incorporating ideas and being able enough to have a widest range of tools to use is the most I can aim for. And, at the end, is a very limited range anyway considering how raw and poor,
hopefully in a good way but still..., our music still is. We actually always had songs, and I argue that the pop element is a anthropological and political manifestation. It's also true
that for instance in the last years I saw many musicians, which were somehow framed in a specific area of investigation, trying to find completely different and unexpected solutions.
And this kind of confusion brings me a lot of inspiration. But yes, in a way is true that we are trying at the same time to go forward in the direction of being more pop and more solid
in the electroacoustic and noise areas...
WJM: In a perspective of constantly pushing forward the limits of a language, which is basically what I can imagine could be the core of some avant garde
expression, it's understandable the struggle of positioning your work in a selected area. There's no time to waste and not many protections. It's already hard enough to be constantly
redefining and challenging yourself.
POGO: I can imagine that fighting to be culturally and economically established in a grid, a system, could be considered an aim for who's dedicating his
work and life to the progression of discussion and investigation. In many fields. If the matter of the discussion is a status quo, to inform the result of this discussion sounds kind
of necessary, I guess.
If not, strategically, the alternative is to found a new system.
RICCI: Or to stay in a low control area, where nobody really cares. Like comics.
Roberta WJM. Picture by Laura Fusato
About ALL YOURS and its expectations with the audience:
WJM: I don't really know what to expect, and certainly I did not plan any strategy for reach some specific reaction.
POGO: The album is called All Yours. Tutto Tuo. Tutti Frutti. All Wrong.
RICCI: It's the trio doing its thing in november 2011. You are the Jealousy Party.
The harsh side of Jealousy Party with all the breakpoints into rhythm and extreme contorsionism... a
mixture between jazz roots
and punca cut-up beats is often well received by your fans, multiple audiences and specialised labels.
Mention some bands and reflections who have inspired Jealousy
Party to point into this new weird-extreme-pop-attempt:
WJM: The eventual expression's roughness of results and the excited and sweaty presentation of the facts we usually perform live doesn't really help
much and might shadow some subtleties we actually quite care about, but it may appeal to some others.
RICCI: While touring, in the car we were playing Art Ensemble of Chicago, Kevin Coyne, Ettore Petrolini, Rodolfo De Angelis, Kip Hanrahan, N.E.E.M Teatrazz,
Spike Jones, Africa Bambaataa, Grand MasterFlash, Bonzo Dog Band, DDAA, Red Krayola, Country Joe & The Fish and a lot of juke. I know. I kept the files.
POGO: Thinking about italians: Starfuckers / Sinistri are one main
inspiration, rhythmically and conceptually. Newtone 2060 is a trio doing some fine punca.
Jealousy Party: Edoardo Ricci, Stefano Bartolini. Picture by Sanny
WJM: Our take on rhythms (cut, plagiarism, manipulation) is the result of a pretty long path. We can say that Starfuckers / Sinistri could be an
inspiration: the way they work in the direction of deconstruction of rock, electronic music and acoustic drums has been always appreciated by us. But to be honest we arrived to
this fragmentation of rhythms through another way.
I think that when I left the acoustic percussion set and introduced the "console" (with our self recorded music and taking also
samples from other musicians) we had the chance to be more in the way of deconstruction to find our own rhythm patterns. The music started to be faster. The idea of building new
rhythms through the fragmentations of real drum patterns in relation with the "console" has been a development in our grammar (in Again you got it...).
In 2011 Mat and I got a lot of material recorded in the studio for Mercato Centrale, not just the different mixes of the tracks but single instrumental takes, so we decided to
play it only in 2 consolles and Mat's voice. Remixing it and reinventing it live. With this set up we rehearsed and played concerts. Some songs from Mercato Centrale's repertoire and at
the same time to work on new tracks. In Marchia Sodo (I Morsi series by Burp) you can get the first attempt on this approach. Just after that we submitted two new
compositions to Edoardo: Fucked Primadonna, after an idea by Mat, and Domani Piove from me. We went on tour just after rehearsing with Edoardo, in trio, with material from MC, a couple
of JP's old songs and the new compositions. Just after that we went to the studio in Nipozzano to record All Yours. So All Yours represents another evolution in the work of JP. We
expect reactions and stimulations from the listeners but really we don't pilot them... it's one of the steps that JP now shows, in the trio personel.
I like a lot the unexpected tensions between weird pop and the experimental approach you're working on this album.
And no matter how in some parts I don't know what to think, or how to react - Is not easy music for sure - precisely
this uncertainty and instability is what I love. In domani piove,
your romantic way of singing... completely outsider... reminds me tons of milliseconds of mainstream pop reggae music
(in just one second). Mat, tell us more about the roots you have worked on for this album
POGO: Man, it reminds you of mainstream reggae shit because it's me whitey italian punk in his
forties singing it, trying to be Yabby You. Wildman Fisher,
Mick Farren and John Lydon are my main vocal inspirations.
WJM: It's kind of embarrassing seeing it this way. And probably, this image of an unsolved attempt of expression, portraits our music in the better
possible way. And our stuff is a lot about having problems to say anything and trying to find your own fucked up voice. I hope this fragility keeps some charm in the process.
RICCI: Catchy Avant-Garde and compelling Pop Music is the perfect musical diet for a progressive and forward thinking dictatorship.
The "full sound" in your music - even contained in small excerpts of sonic fractions - reminds me of an
abstract electroacoustic dj on a danceable trip. You are the proof - at least for me - that the experimental and the
noise music scene have changed in the last years
- And means probably, conscious evolution with deeper implications in your case, if we think in more than 20 years of
un/compromised work and musical passion. Do you agree with this? If yes, how do you feel this
in the own words of Jealousy Party?
Mat Pogo. Picture by Laura Fusato
POGO: Electroacoustic composition and improvisation and dance music are both concepts of interest for us, like for many. What I actually feel is that
experimental music is always evolving and changing in many different directions. And especially now, where the possibilities of networking are not even anymore a possibility at hand,
but a fundament of playing and spreading music. Regardless the more or less effective marketing strategies. If there are any.
WJM: Much of our music has been conceived in Florence, a quite impervious city, in the middle of such an isolated and selfish country as Italy.
I guess it kept deep inside some of these qualities. Actually I will never say JP is an experimental band. But hell is a fucking band.
RICCI: ... and we play the music that comes out of our holes. It takes a lot of exercise.
Let's take a deep breath.
Important projects and bands people have to listen - in Berlin and of course in Italy:
POGO: First I would like to name some of the many projects all JP members have.
WJM plays with JD Zazie in Semerssuaq since many years,
and more recently the two of them together with sound artist Felicity Mangan started The Secretaries [Released on Audition ar073] , in Berlin.
Edoardo plays together with Stefano Bartolini in circuit bending/windinstrument noise duo Athanoi. And is active in the florentine based new music collective
Blutwurst. He got a new trio with Giuliano Tremea on voice and Lucio Bonaldo on drums [Gare Age Trious]
Jacopo Andreini plays with L'Enfance Rouge and together with Andrea Caprara they have Squarcicatrici and Tsigoti,
with pianist Thollem McDonas. Andrea plays also with Luther Blisset from Bologna.
Nikt plays with Barnacled and Brooklyn based r'n'r band Dear Hearts.
In Italy it seems there's many new things happening, so if you are curious about it I suggest to follow the links to the list of labels we quoted before in the article.
It's particularly exciting what's going on in Naples around the work of labels as Viande and Toxo Records.
In Berlin there's surely quite a lot of interesting stuff happening. And in many directions. Just have a look at the Echzeitmusik Calendar or at strong>NK Program for instance to start to have an idea.
NMO and Sea Urchin are two new bands I really like.
Check the Das Andere Selbst label.
Helga Blohm Dynastie is a great rock band from Berlin.
Ah! Check the Drid Machine label. But that's norwegian.
GINGO DE PRANZO / Fratelli di selvaggio 11 /
PASARAN Comix #1 by Mat Pogo | FOLLOW PASARAN COMIX
POGO: We certainly are at the beginning of a new phase again. With Burp Enterprise we just produced the two final albums for the Mhmusic series.
JP's Mercato Centrale and Live in Pisa by
Edoardo Ricci, Eugenio Sanna and Roger Turner.
Together with Attila Tralala, Bimbo Tower Records,
Les Potagers Natures and ROMVOS we coproduced a 7" vinyl by Arnaud Rivière replayed by Clarence Manuello.
We Just revived the I Morsi series publishing WJM first
WJM: All the titles will be in streaming and downloadable format and very limited special packaging cd edition. We have ready material from Eugenio Sanna,
Edoardo Ricci, Jimmy Gelli and a solo vocal thing by Mat. Check our website. They will be published before the end of january 2014.
One idea is to have a series of vinyls documenting some crucial works by musicians in Berlin. But right now we are not in the conditions to start that soon.
For now we would like to upload online the whole Mhmusic catalog. It's probably not entirely complete, but through 23 albums you get some ideas of what burp collective's interests were
about in the last 10 years. A sampler of those titles will be available for free at Christmas 2013. It will be our Christmas gift to the planet. Ehm...
RICCI: We certainly will focus again on paper and comics. A new issue of the comix magazine Burp, around which the whole collective grew, it's planned to
come out very soon. It will be Burp #100.
WJM: With JP we will try to tour as a duo as much we can in 2014 and to find some special occasions to play as a trio with Edoardo.
POGO: We are working on a tape release for Le Petit Mignon, the label that already produced a 7" by Pokemachine; and
we just recorded a tape for Das Andere Selbst. Mainly focused on rhythmical material. We really would like to explore more our dancey side. We will see.
WJM: The situation is so complicated right now, personally and collectively; socially, politically and culturally we can't stop now. We've been doing this
too long to stop now.
Conversations between Jealousy Party and Julian Bonequi ///////////////////// Jealousy Party 11.12.2013
JEALOUSY PARTY | DISCOGRAPHY
Audition Records, December 2013
Burp / Mhmusic, May 2013 - cd
JP / Nicolas Wiese - Relative Memory
Absinth, April 2012 - cd
(Burp / I Morsi) 2011 - downloadable ep
(Bar La Muerte / Boring Machines / Burp Publications Fratto9 under the sky / Frigorifero / Megaplomb SGR musiche / Trasponsonic / Valvolare / Wallace)
2010 - cd
JP + Eugenio Sanna
(Burp / Setola di Maiale) 2010 - cd
(Burp) 2009 downloadable ep
Phonometak V split w/Talibam!!!
(SoundMetak / Wallace) 2008 - 10?
(Burp/Mhmusic) 2008 - cd
(Burp/Mhmusic) 2006 - cd
(Burp/Mhmusic) 2000 - cd
Blade Runner Suck My Recanati Stylee
(Burp/Burp Sonic Inventions) 1998 - cdr
JP meets Roy Paci
(Frigorifero) 1997 - tape
(Frigorifero) 1996 - tape
(Burp/Burp Sonic Inventions) 1996 - tape
(Burp/Burp Sonic Inventions) 1995 - tape
BURP ENTERPRISE LINKS
BURP ENTERPRISE webpage
BURP COMIX online:
INTERNATIONAL DATABASE 2010-2015
[ar091] JEALOUSY PARTY | ALL YOURS
Album produced by Jealousy Party/Audition Records with previously unissued material. Approved by Burp Enterprise.
Roberta WJM - mix, cd players, mics
Mat Pogo - mix, vocal, cd players
Edoardo Ricci - alto and soprano saxophones, bass clarinet, trombone
Kunto Bertiaka - percussions on 1, 3 and 4
Recorded by Matteo Bennici. Mixed by Jacopo Andreini and JP. Produced by JP.
November 2011 at Isola Cannon Jack, Nipozzano, Firenze - Italy
Special thanks to Andrea Caprara. Shouts to Jimmy Gelli, Stefano Bartolini, Nicotina and all the Jealousy Partisans.
Design by Audition Records.
Contact: Burp Enterprise |