la la la ressonance

The history of La la la ressonance can be summed up to the composing and recording of its debut album. Originally known as The Astonishing Urbana Fall, the band changed its name in 2005 but maintained all of its members. La la la ressonance rethink experimentalism and improvisation, which were pillars of TAUF’s creative personality, thus preserving its post-rock platform. Strangely enough, one project can be seen as the negative – in the photographic sense - of the other. While TAUF revealed an experiential character in its long hypnotic and improvisational progressions, Llr add a dose of formalism, abstraction and irony, composed of laconic bits and pieces. TAUF come to an end after a ten-year career mostly dedicated to live performances - only 3 EP’s were released. La la la ressonance emerge on the scene with their first album – Palisade (2006).

Palisade (press release):
Few Portuguese bands have raised their audience’s expectations quite as high as The Astonishing Urbana Fall. Through their unforgettable concerts (for a long time, each of them was an unrepeatable event with unique staging) and their virtually perfect recorded debut – the EP “Acetaminophen” – they marked a time in our rock/pop milieu, generating a consensus of rare appraisal and an extensive legion of fans. Maturity brought forth a new ironic moniker, La La La Ressonance, and the resulting record, Palisade, is another cornerstone on the defence of the formal liberty in which they always believed in. Instrumental, ambient, jazzistic, charismatic, this step does not close the career path of these musicians, it enlarges it, forcing a continuous labelling effort that, in my view, never can (nor should) be safe. Palisade is brilliant in its bare naked tone. It reveals disarming simplicity, bringing to mind, at times, the northern European new jazz (hello, beautiful Rune Grammophon), mixed with a dose of sun-like clarity. This is delicate and sober almost-jazz. A record suited for demanding music lovers, housewives with modern kitchens, girls with finely tuned dreams, boys with coloured hearts, bank clerks keen on subversive lingerie, passers by anxious to get home. (valter hugo mãe, 2006)