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Subsonica.it
IS THE MAIN SITE [ ENTER ]Terrestre
2005-04-22 is the new album[ ENTER ] the album SITE (info/lyrics/audio)
Albums
Terrestre - 2005 [ + ]
Amorematico - 2002
Microchip Emozionale - 1999
SubsOnicA - 1997
Live, EP's
Terrestre live e varie altre disfunzioni - 2006
Controllo del livello di rombo - 2003
Coi piedi sul palco - 1998
Books, DVD's
Be human: cronache terrestri - 2006
Anomalia Subsonica - 2003
Cielo Tangenziale Ovest - 2004
Biography
"Without Turin Italy would be very different, without Italy Turin would be more or less the same", these are Umberto Eco's words: one of Italy's foremost intellectuals and writers, on the personality of the city that had the task of unifying Italy and became its first cultural, political, military (until 1865) and, later on, industrial Capital.
As often happens, there are two sides to this city-factory. The first is efficient, grey, ordinary, alienating while the second is pulsating, politically tense, full of underground life and music.
The Turin that existed at the birth of Subsonica, halfway through the Nineties wasn't very different to the Manchester of that period: a place where a rock attitude and the vitality of the new electronic languages collided. If we can say that the meeting places once were concerts, now they became raves, or nights at techno, break-beat or drum 'n' bass clubs.
There is the atmosphere of a city reawakening from a century of heavy industrialisation and opening out to a cultural "springtime" without precedent. The industrial dream is crumbling to the blows of a deep crisis. The city reacts and searches out a new identity: Turin starts to come alive at night as well.
It is in the night that Subsonica meet, in the area with the highest density of sound waves, the Murazzi, on the river's banks. It is the summer of 1996. The five musicians meet and fraternize in the clubs and the squats where there is music and chatter until the first lights of the morn.
- Samuel, the singer, has a soul background, a voice that cannot pass unnoticed. He grew up with the typical life of a boy from the suburbs; wiled away in cellars with the rock-band of the moment and his Sundays in discos, dancing. He is also the front-man for "amici di roland", a band that mixes punk, pyschedelia and cartoon music.
- Boosta, the keyboard man, is Samuel's long-time friend and accomplice to all of his musical course. He starts out with metal, then he falls in love with computers, videogames, '70's detective programmes and samplers. He sells, swaps, buys, instruments and equipment compulsively, with practically no business sense; which gradually leads to the impoverishment of his instrumentation. He becomes extremely capable, at the same time, with all forms of electronic technology.
- Max, the guitarist, is ten years older and is one of the most affirmed technician-producers in the city. He makes his first steps in the radical new wave of the Eighties, moves on to playing dub and reggae and becomes an essential element of the most famous Italian reggae group (Africa unite). He then builds a recording room inside an artisanal cinematographic studio above piazza Vittorio, right above the river.
The studio is Casasonica, and it immediately becomes the laboratory for the band's first experiments. Max becomes the technical producer and everybody's older brother. By choice or by force.
- Ninja is a technically talented and disciplined drummer. He is also an IT engineer, with a First Class degree from Turin's Polytechnic, one of Italy's severest universities. He has won awards such as "best Italian non-professional drummer" from when he was a youth. However, when he starts experimenting with Subsonica, he forgets everything that he has learned and revolutionizes his method so that his drumming sounds more like an electronic machine. Rumours say that he is not fully human.
- Vicio arrives a few years later. His past is made up of rock 'n' roll, which he however forsakes when he starts losing his hair, at 23. He immediately joins a jazz school, opens out his horizons and betters his technique. When, in 1999, Subsonica call on him to substitute the original Pierfunk, he is happy to leave theory and technique behind and start to make deep and hypnotic bass-lines thump out. The very name Sub-sonica derives from "bass culture".
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